Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-17T15:14:26.807Z Has data issue: false hasContentIssue false
  • English
  • Français

The Mirror of Man's Salvation: Music in Devotional Life About 1500

Published online by Cambridge University Press:  20 November 2018

Howard Mayer Brown
Howard Mayer Brown*
Affiliation:
The University of Chicago
Get access Rights & Permissions [Opens in a new window]

Extract

Composers working during the last quarter of the fifteenth century wrote many more motets than previous composers had done. At any rate, far more have come down to us. This apparent explosion of activity coincided with the founding, reorganization, or revitalization of a number of cathedral or princely chapel choirs. Moreover, the character of the motet as a musical genre also seems to have changed at about the same time. By far the largest number of motets composed before 1475 set texts celebrating the Virgin Mary, or else they were compositions written to celebrate particular political or social occasions.

Type
Studies
Information
Renaissance Quarterly , Volume 43 , Issue 4 , Winter 1990 , pp. 744 - 773
Copyright
Copyright © Renaissance Society of America 1990

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

This essay is a version of the Josephine Waters Bennett Lecture delivered at the National Conference of the Renaissance Society of America in Toronto in the spring of 1990.1 am grateful to my colleague Anne Walters Robertson for much valuable advice in the course of writing it.

References

Alfieri, Edera. La cappella musicale di Loreto delle origini a Costanzo Porta (1507-1374). Loreto, n.d.Google Scholar
Archivium musices metropolitaiwm mediolaneuse. Ed. Migliavacca, Luciano, etal. 15 vols. Milan, 1958-68.Google Scholar
Benthem, Jaap van. “A Waif, a Wedding, and a Worshipped Child: Josquin's Ut Phebi radiis and the Order of the Golden Fleece.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 37 (1987): 64–81.Google Scholar
Blackburn, Bonnie J. Music/or Treviso Cathedral in the Late Sixteenth Century. London, 1987.Google Scholar
Bonaventure, Saint. Opera. 13 vols. Venice, 1751-56.Google Scholar
Bonta, Stephen. “The Uses of the Sonata da Chiesa.” Journal of the American Musicological Society 22 (1969):54–84 Google Scholar
Boorman, Stanley. “Early Music Printing: Working for a Specialized Market.” In Print and Culture in the Renaissance, ed. G. Tyson and S. Wagonheim, 221-44. Newark, DE, 1986.Google Scholar
Brown, Howard Mayer. A Florentine Chansonnierfrom the Time of Lorenzo the Magnificent, 2 vols. Chicago and London, 1983.Google Scholar
Brown, Howard Mayer. “The Joys of Mary by Josquin and Others.” In Essays in Honor of Andrew Macredie (forthcoming).Google Scholar
Brumel, Antoine. Opera Omnia. Ed. Hudson, Barton. 6 vols. American Institute of Musicology, 1969-72.Google Scholar
Caldwell, John, and Boyd, Malcolm. “Stabat mater dolorosa.” In The New Grove Dictionary of Music and Musicians, 18:36–37.Google Scholar
Cattin, Giulio. “Church Patronage of Music in Fifteenth-Century Italy.” In Music in Medieval and Early Modern Europe, 21-36. Ed. Fenlon, Iain, Cambridge, Eng., 1981.Google Scholar
Census-Catalogue of Manuscript Sources of Polyphonic Music, 1400-1550. 5 vols. American Institute of Musicology, 1979-88.Google Scholar
Compère, Loyset. Opera Omnia. Ed. Ludwig Finscher. 5 vols. American Institute of Musicology, 1958-72.Google Scholar
Constant, John. “Renaissance Manuscripts of Polyphony at the Cathedral of Padua.” Ph.D. dissertation, University of Michigan, 1975.Google Scholar
Croll, Gerhard. “Weerbeke.” In The New Grove Dictionary of Music and Musicians, 20:291-92.Google Scholar
Cummings, Anthony M. “Toward an Interpretation of the Sixteenth-Century Motet. ”Journal of the American Musicological Society 34 (1981):43–59.Google Scholar
D'Accone, Frank A. “A Late 15th-century Sienese Sacred Repertory: MS K. I. 2 of the Biblioteca Comunale, Siena.” Musica Disciplina 37 (1983):121-70.Google Scholar
Dean, Jeffrey J. “The Repertory of the Cappella Giulia in the 1560s.” Journal of the American Muskological Society 41 (1988): 465-90.Google Scholar
Drake, George Warren. “The First Printed Books of Motets, Petrucci's Motetti A Numero Trentatre A (Venice, 1502) and Motetti de Passione, de Cruce, de Sacramento de Beata Virgine et Huiusmodi B (Venice, 1503): A Critical Study and Complete Edition.” 2 vols. Ph.D. dissertation, University of Illinois, 1972.Google Scholar
Dreves, Guido Maria, Blume, Clemens, and Bannister, Henry Marriott, eds. Analecta hymnicamediiaevi. 55 vols. Leipzig, 1886-1922.Google Scholar
Dumoulin, Jean, Huglo, Michel, Mercier, Philippe, and Pycke, Jacques. La Messe de Tournai. Tournai and Louvain-la-Neuve, 1988.Google Scholar
Dunning, Albert Die Staatsmotette: 1480- 1555. Utrecht, 1970.Google Scholar
Finscher, Ludwig. Loyset Compfre (c. 1450- 1518): Life and Works. American Institute of Musicology, 1964.Google Scholar
Franz, Adolph. Die Messe im deutschen Mittelalter. Freiburg im Breisgau, 1902.Google Scholar
Fuchs, Guido. “Kirchenmusik in Mailand ende des 15. Jahrhunderts.” M.A. thesis. University of Würzburg, 1982.Google Scholar
Ghiselin-Verbonnet, Johannes. Opera Omnia. Ed. Gottwald, Clytus. 4 vols. American Institute of Musicology, 1961-68.Google Scholar
Grimaldi, Floriano. La cappella musicale di Loreto nel Cinquecento. Loreto, 1981.Google Scholar
Harrison, Frank L. Music in Medieval Britain. London, 1958.Google Scholar
Harthan, John. Books of Hours and Their Owners. London, 1977.Google Scholar
Heartz, Daniel. Pierre Attaingnant: Royal Printer of Music. Berkeley and Los Angeles, 1969.Google Scholar
Henry, Avril, ed. The Mirour of Mans Salvacioun: A Middle English Translation of Speculum Humanae Salvationis. Philadelphia, 1987.Google Scholar
Hesbert, René-Jean, ed. Corpus antiphonarium officii. 5 vols, to date. Rome, 1963-74.Google Scholar
Hudson, Barton. “Brumel.” In The New Grove Dictionary of Music and Musicians, 3:377-81.Google Scholar
Hüschen, Heinrich. “Tinctoris.” In The New Grove Dictionary of Music and Musicians, 18:837-40.Google Scholar
Hughes, Andrew. Medieval Manuscripts for Mass and Office: A Guide to their Organization and Terminology. Toronto, Buffalo and London, 1982.Google Scholar
Huglo, Michel. “Processional.” The New Grove Dictionary of Music and Musicians, 15:281.Google Scholar
des Prez, Josquin. Werken. ed. Smijers, Albert. 12 vols. Amsterdam, 1924-69.Google Scholar
Kellman, Herbert. “Josquin and the Courts of the Netherlands and France: The Evidence of the Sources.” In Josquin des Prez: Proceedings of the International Josquin Festival-Conference, 181 -216. Ed. Edward E. Lowinsky in collaboration with Bonnie J. Blackburn, London, 1976.Google Scholar
Le Goff, Jacques. La Naissance du purgatoire. Paris, 1981. Translated as The Birth of Purgatory. Chicago, 1984.Google Scholar
Lefferts, Peter M. The Motet in England in the Fourteenth Century. Ann Arbor, 1983.Google Scholar
Leroquais, Victor. Les livres d'hcures manuscrits de la Bibliothèque nationale. 4 vols. Paris, 1927-43.Google Scholar
Liber capelle ecclesie maioris: Quarto codice di Gaffurio. Ed. Angelo Ciceri and Luciano Migliavacca. Archivium Musices Metropolitanum Mediolanense, 165. Milan, 1968.Google Scholar
Liber usualis. Tournai, 1947.Google Scholar
Lockwood, Lewis. “Martini.” In The New Grove Dictionary of Music and Musicians, 11:726-27.Google Scholar
Lowinsky, Edward E. The Medici Codex of 1518. 3 vols. Chicago and London, 1968.Google Scholar
Macey, Patrick. “Josquin's ‘Little’ Ave Maria: A Misplaced Motet from the Vultum tuum Cycle?” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 39 (1989):38–53.Google Scholar
Mattfeld, Jacquelyn A. “Some Relationships Between Texts and Cantus Firmi in the Liturgical Motets of Josquin des Pres.” Journal of the American Musicological Society 14 (1961):159-83.Google Scholar
Milan, Archivio della Venerando Fabbrica del Duomo, Sezione Musicale, Librone l[-3]. Introduction by Howard Mayer Brown. Renaissance Music in Facsimile, 12a-c. New York, 1987.Google Scholar
Noble, Jeremy. “The Function of Josquin's Motets.” Tidschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 35 (1985): 9–31.Google Scholar
Nowacki, Edward. “The Latin Psalm Motet 1500-1535.” In Renaissance - Studien: Helmuth Osthoff zum 80. Geburtstag, 159—84. Ed. Finscher, Ludwig. Tutzing, 1979.Google Scholar
Preston, Alan. “Sacred Polyphony in Renaissance Verona: A Liturgical and Stylistic Study.” Ph.D. dissertation, University of Illinois, 1969.Google Scholar
Prizer, William F. “Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece.” Early Music History 5 (1985):113-53.Google Scholar
Répertoire international des sources musicales: Recueils imprimés XVIe-XVIIe siècles. Ed. Lesure, François. Munich and Duisburg, 1960.Google Scholar
Reynolds, Christopher A. “The Music Chapel at San Pietro in Vaticano in the Later Fifteenth Century.” Ph.D. dissertation, Princeton University, 1982.Google Scholar
Reynolds, Christopher A. “Sacred Polyphony.” In The New Grove Handbooks in Music: Performance Practice: Music Before 1600, 185-200. Ed. Brown, Howard Mayer and Sadie, Stanley. London, 1989.Google Scholar
Sherr, Richard. “IllibataDei Virgo Nutrix and Josquin's Roman Style.”Journal of the American Musicological Society 41 (1988):434-64.Google Scholar
Siena, Biblioteca Comunale degli Intronati, MS K.I.2.Introduction by Frank A. D'Accone. Renaissance Music in Facsimile, 17. New York, 1986.Google Scholar
Sparks, Edgar H. Cantus Firmus in Mass and Motet, 1420-1520. Berkeley and Los Angeles, 1963.Google Scholar
Stephan, Wolfgang. Die burgundisch—niederlandische Motette zur Zeit Ockeghems. Cassel, 1937; repr. 1973.Google Scholar
Das Vatikanische Stundenbuch Jean Bourdichons. Ed. König, Ebergard. Zurich, 1984.Google Scholar
Vitry, Philippe de. Complete Works. Ed. Leo Schrade with Intro, and notes by Roesner, Edward H.. Monaco, 1984.Google Scholar
Wackernagel, Martin. The World of the Florentine Renaissance Artist: Projects and Patrons, Workshop and Art Market. Trans. Luchs, Alison. Princeton, NJ, 1981.Google Scholar
Ward, Lynn Halpern. “The Motetti Missales Repertory Reconsidered.” Journal of the American Musicological Society 39 (1986): 491–523.Google Scholar
Warner, Marina. Alone of All Her Sex: The Myth and the Cult of the Virgin Mary. New York, 1976.Google Scholar
Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life. New York and Baltimore, 1988.Google Scholar
Wilson, Adrian, and Wilson, Joyce Lancaster. A Medieval Mirror: Speculum humanae salvationis, 1324-1500. Berkeley, Los Angeles, and London, 1984.Google Scholar