Skip to main content Accessibility help
×
Home
  • Print publication year: 2015
  • Online publication date: July 2015

Part II - Improvisation and composition

Bibliography

Berger, Anna Maria Busse, Medieval Music and the Art of Memory, Berkeley, 2005
Berger, Anna Maria Busse, “Models for Composition in the Fourteenth and Fifteenth Centuries,” in Memory and Invention: Medieval and Renaissance Literature, Art, and Music, ed. A. M. Busse Berger and M. Rossi, Florence, 2009, 59–80
Berger, Anna Maria Busse, “The Problem of Diminished Counterpoint,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens, Turnhout, 2009, 13–27
Egmond, Warren van, “The Commercial Revolution and the Beginning of Western Mathematics in Renaissance Florence, 1300–1500,” Ph.D. diss., Indiana University, 1976
Georgiades, Thrasybulos, Englische Diskanttraktate aus der ersten Hälfte des 15. Jahrhunderts, Munich, 1937
Grendler, Paul, Schooling in Renaissance Italy: Literacy and Learning, 1300–1600, Baltimore, 1989
Leech-Wilkinson, Daniel, Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and his Contemporaries, New York, 1989
Leech-Wilkinson, Daniel, “Machaut’s ‘Rose, Lis’ and the Problem of Early Music Analysis,” Music Analysis 3 (1984), 9–28
Lowinsky, Edward E., “Early Scores in Manuscript,” JAMS, 13 (1960), 126–73, repr. in Music in the Culture of the Renaissance and Other Essays, Chicago, 1989, 803–40
Lowinsky, Edward E., “On the Use of Scores by Sixteenth-Century Musicians,” JAMS 1 (1948), 17–23, repr. in Music in the Culture of the Renaissance, 797–800
Monteverdi, Claudio, The Letters of Claudio Monteverdi, trans. Denis Stevens, Oxford, 1995
Ong, Walter J., Orality and Literacy: The Technologizing of the Word, London, 1982
Owens, Jessie Ann, Composers at Work: The Craft of Musical Composition, 1450–1600, New York, 1997
Schubert, Peter, “From Improvisation to Composition: Three Sixteenth-Century Case Studies,” 11th Publication of the Collected Writings of the Orpheus Instituut, forthcoming from Leuven University Press
Tinctoris, Johannes, Liber de arte contrapuncti, in Opera theoretica, ed. Albert Seay, CSM 22, [Rome], 1975, 2: 11; trans. A. Seay as The Art of Counterpoint, MSD 5, [Rome], 1961

Bibliography

Abramov-van Rijk, Elena, Parlar cantando: The Practice of Reciting Verses in Italy from 1300 to 1600, Bern, 2009
Anselmus, Georgius, Georgii Anselmi Parmensis “De musica,” ed. Giuseppe Massera, Florence, 1961
Apel, Willi, ed., Keyboard Music of the Fourteenth and Fifteenth Centuries, Corpus of Early Keyboard Music 1, Rome, 1963
Bent, Margaret, “Resfacta and Cantare Super Librum,” JAMS 36 (1983), 371–91
Berger, Anna Maria Busse, Medieval Music and the Art of Memory, Berkeley, 2005
Berger, Karol, A Theory of Art, New York and Oxford, 2000
Blackburn, Bonnie J., “On Compositional Process in the Fifteenth Century,” JAMS 40 (1987), 210–84
Butler, Gregory G., “The Fantasia as Musical Image,” MQ 60 (1974), 602–15
Butt, John, “Germany and the Netherlands,” in Keyboard Music before 1700, ed. Alexander Silbiger, 2nd edn., New York, 2004, 147–234
Canguilhem, Philippe, “Singing upon the Book according to Vicente Lusitano,” EMH 30 (2011), 55–103
Cave, Terence, The Cornucopian Text: Problems of Writing in the French Renaissance, Oxford, 1979
Chastel, André, Marsile Ficin et l’art, 3rd edn., Geneva, 1996
Ferand, Ernest, “‘Sodaine and Unexpected’ Music in the Renaissance,” MQ 37 (1951), 10–27
Fuller, Sarah, “Organum – Discantus – Contrapunctus in the Middle Ages,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen, Cambridge, 2002, 477–502
Galand-Hallyn, Perrine, and Fernand Hallyn, eds., Poétiques de la Renaissance: Le modèle italien, le monde franco-bourguignon et leur héritage en France au XVIe siècle, Geneva, 2001
Gallo, F. Alberto, Music in the Castle, Chicago, 1995
Gumbrecht, Hans Ulrich, Production of Presence: What Meaning Cannot Convey, Stanford, 2004
Janin, Barnabé, Chanter sur le livre: Manuel pratique d’improvisation polyphonique de la Renaissance, xve et xvie siècles, 2nd edn., Lyon, 2014
Juan de Lucena, Libro de vida beata, Rome, 1463
Lecointe, Jean, L’Idéal et la différence, Geneva, 1993
Lockwood, Lewis, “Pietrobono [Petrus Bonus] de Burzellis [de Bruzellis, del Chitarino],” Grove Music Online (accessed 1 September 2013)
Mengelkoch, Dustin, “The Mutability of Poetics: Poliziano, Statius and the Silvae,” Modern Language Notes 125 (2010), 84–116
Meyer, Christian, “Sortisatio: De l’improvisation collective dans les pays germaniques vers 1500,” in Polyphonies de tradition orale: Histoire et traditions vivantes, ed. Christian Meyer, Paris, 1993, 183–200
Monachus, Guilielmus, De preceptis artis musicae, ed. Albert Seay, [Rome], 1965
Paz y Meliá, Antonio, Opúsculos literarios de los siglos XIV á XVI, Madrid, 1892
Pirrotta, Nino, and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi, Cambridge, 1982
Poliziano, Angelo, Prose volgari inedite e poesie latine e greche, ed. Isidoro Del Lungo, Florence, 1867
Prosdocimus de Beldemandis, Contrapunctus, ed. and trans. Jan Herlinger, Lincoln, NE, 1984
Quintilian, Institutio oratoria, trans. H. E. Butler, vol. 4, London, 1922
Rossi, Francesco Rocco, “Vergine bella e Dufay: Dalla tradizione improvvisativa alla res facta,” in Petrarca in musica, ed. Andrea Chegai and Cecilia Luzzi, Lucca, 2005, 83–99
Sachs, Klaus-Jürgen, “Arten improvisierter Mehrstimmigkeit nach Lehrtexten des 14. bis 16. Jahrhunderts,” BJhM 7 (1983), 166–83
Sachs, Klaus-Jürgen, De modo componendi: Studien zu musikalischen Lehrtexten des späten 15. Jahrhunderts, Hildesheim, 2002
Sachs, Klaus-Jürgen, Der Contrapunctus im 14. und 15. Jahrhundert: Untersuchungen zum Terminus, zur Lehre und zu den Quellen, Wiesbaden, 1974
Schrÿvers, P. H., “Invention, imagination, et théorie des émotions chez Cicéron et Quintilien,” in Rhetoric Revalued, ed. Brian Vickers, Binghamton, NY, 1982, 47–57
Tinctoris, Johannes, The Art of Counterpoint, trans. Albert Seay, [Rome], 1961
Toliver, Brooks, “Improvisation in the Madrigals of the Rossi Codex,” AcM 64 (1992), 165–76
Treitler, Leo, With Voice and Pen: Coming to Know Medieval Song and How It Was Made, New York, 2003
Trumble, Ernest, Fauxbourdon: An Historical Survey, Brooklyn, 1959
Wegman, Rob C., “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500,” JAMS 49 (1996), 409–79

Bibliography

Berger, Anna Maria Busse, Medieval Music and the Art of Memory, Berkeley, 2005
Böhm, Rainer, “Entdeckung einer französischen Melodienvorlage zum Lied O wunniklicher, wolgezierter mai (Kl. 100) von Oswald von Wolkenstein,” Jahrbuch der Oswald von Wolkenstein-Gesellschaft 13 (2001/2), 269–78
Carruthers, Mary, The Book of Memory: A Study of Memory in Medieval Culture, Cambridge, 1990
Carruthers, Mary, “Thomas Bradwardine, ‘De memoria artificiale adquirenda’,” Journal of Medieval Latin 2 (1992), 25–43
Classen, Albrecht, The Poems of Oswald von Wolkenstein: An English Translation of the Complete Works (1376/77–1445). Basingstoke, 2008
Fallows, David, “Two Equal Voices: A French Song Repertory with Music for Two or More Works of Oswald von Wolkenstein,” EMH 7 (1987), 227–41
Göllner, Theodor, “Landinis ‘Questa fanciulla’ bei Oswald von Wolkenstein,” Die Musikforschung 17 (1964), 393–98
Goody, Jack, The Interface between the Written and the Oral, Cambridge: 1987
Jones, George Fenwick, Oswald von Wolkenstein, New York, 1973
Kraft, Isabel, “Rondeau oder Reigen: ‘Triste plaisir’ und ein Mailied Oswalds von Wolkenstein,” in “Ieglicher sang sein eigen ticht”: Germanistische und musikwissenschaftliche Beiträge zum deutschen Lied im Mittelalter, Wiesbaden, 2011, 75–97
Klopsch, Paul, Einführungen in die Dichtungslehren des lateinischen Mittelalters Verslehre, Darmstadt, 1980
Kühn, Dieter, Ich Wolkenstein: Biographie, Frankfurt am Main, 1977; repr. 1996
Marold, Werner, and Alan Robertshaw, Kommentar zu den Liedern Oswalds von Wolkenstein, Innsbruck, 1995
Pelnar, Ivana, Die mehrstimmigen Lieder Oswalds von Wolkenstein, 2 vols., Tutzing, 1981–82
Planchart, Alejandro E., “The Early Career of Guillaume Du Fay,” JAMS 46 (1993), 341–68
Plumley, Yolanda, The Art of Grafted Song: Citation and Allusion in the Age of Machaut, New York, 2013
Rubin, David C., Memory in Oral Traditions: The Cognitive Psychology of Epic, Ballads, and Counting-Out Rhymes, Oxford, 1995
Schuler, Manfred, “Die Musik in Konstanz während des Konzils 1414–1418,” AcM 38 (1966), 150–68
Schwob, Anton, Historische Realität und literarische Umsetzung: Beobachtungen zur Stilisierung der Gefangenschaft in den Liedern Oswalds von Wolkenstein, Innsbruck, 1979
Staehelin, Martin, “The Constitution of the Fifteenth-Century German Tenor Lied: Drafting the History of a Musical Genre,” in Music in the German Renaissance: Sources, Styles, and Contexts, ed. John Kmetz, Cambridge, 1994, 174–81
Strohm, Reinhard, “Lied und Musik,” Jahrbuch der Oswald von Wolkenstein-Gesellschaft (forthcoming)
Strohm, Reinhard, “Native and Foreign Polyphony in Late Medieval Austria,” MD 38 (1984), 205–30
Strohm, Reinhard, The Rise of European Music, 1380–1500, Cambridge, 1993
Strohm, Reinhard, “Song Composition in the Fourteenth and Fifteenth Centuries: Old and New Questions,” Jahrbuch der Oswald von Wolkenstein-Gesellschaft 9 (1996–97), 523–50
Strohm, Reinhard, “Die vierstimmige Bearbeitung (um 1465) eines unbekannten Liedes von Oswald von Wolkenstein,” Jahrbuch der Oswald von Wolkenstein-Gesellschaft 4 (1986–87), 163–74
Timm, Erika, “Ein Beitrag zur Frage: Wo und in welchem Umfang hat Oswald von Wolkenstein das Komponieren gelernt?,” in Oswald von Wolkenstein: Beiträge der philologisch-musikwissenschaftlichen Tagung in Neustift bei Brixen, 1973, ed. Egon Kühebacher, Innsbrucker Beiträge zur Kulturwissenschaft, Germanistische Reihe 1, Innsbruck, 1974, 308–31
Timm, Erika, Die Überlieferung der Lieder Oswalds von Wolkenstein, Lübeck, 1972
Welker, Lorenz, “Mehrstimmige Sätze bei Oswald von Wolkenstein: Eine kommentierte Übersicht,” Jahrbuch der Oswald von Wolkenstein-Gesellschaft 6 (1990–91), 255–66
Welker, Lorenz, “New Light on Oswald von Wolkenstein: Central European Traditions and Burgundian Polyphony,” EMH 7 (1987), 187–226
Welker, Lorenz, “Oswald von Wolkenstein,” in Grove Music Online (accessed 3 March 2012)
Welker, Lorenz, “Some Aspects of the Notation and Performance of German Song around 1400,” EM 18 (1990), 235–46
Welker, Lorenz, “Die Überlieferung französischer Chansons in der Handschrift 2777 der Österreichischen Nationalbibliothek (Wolkenstein-Handschrift A),” in Wiener Quellen der älteren Musikgeschichte zum Sprechen gebracht, ed. Birgit Lodes, Tutzing, 2007, 311–30

Bibliography

Baxandall, Michael, Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style, Oxford, 1972
Bent, Margaret, “Diatonic Ficta Revisited: Josquin’s Ave Maria in Context,” in Bent, Counterpoint, Composition, and Musica Ficta, New York and London, 2002, 199–217 (with introductory remarks at 25–27)
Bent, Margaret, “The Grammar of Early Music: Preconditions for Analysis,” in Tonal Structures in Early Music, ed. Cristle Collins Judd, New York, 1998, 15–59
Blackburn, Bonnie J., “For Whom Do the Singers Sing?,” EM 25 (1997), 593–609
Cumming, Julie, “From Variety to Repetition: The Birth of Imitative Polyphony,” Yearbook of the Alamire Foundation 6 (2008), 21–44
Dumitrescu, Theodor, “Reconstructing and Repositioning Regis’s Ave Maria … virgo serena,” EM 37 (2009), 73–88
Fallows, David, Josquin, Turnhout, 2009
Godt, Irving, “Motivic Integration in Josquin’s Motets,” Journal of Music Theory 21 (1977), 264–92
Grimshaw, Julian, “Morley’s Rule for First-Species Canon,” EM 34 (2006), 661–66
Judd, Cristle Collins, “Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s Ave Maria … virgo serena,” Music Analysis 4 (1985), 201–39
Lockwood, Lewis‘It’s true that Josquin composes better … ’: The Short Unhappy Life of Gian de Artiganova,” in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens, Turnhout, 2009, 201–16
Macey, Patrick et al., “Josquin des Prez,” in Grove Music Online, accessed 12 June 2012
Milsom, John, “Imitatio,’ ‘Intertextuality,’ and Early Music,” in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Suzannah Clark and Elizabeth Eva Leach, Woodbridge, 2005, 141–51
Milsom, John, “Josquin des Prez and the Combinative Impulse,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste, Turnhout, 2012, 211–46
Milsom, John, “Notes from an Erasable Tablet,” in “Recevez ce mien petit labeur”: Studies in Renaissance Music in Honour of Ignace Bossuyt, ed. Mark Delaere and Pieter Bergé, Leuven, 2008, 195–210
Milsom, John, “Playing with Plainchant: Seven Motet Openings by Josquin and What We Can Learn from Them,” in Josquin and the Sublime: Proceedings of the International Josquin Symposium at Roosevelt Academy Middelburg, 12–15 July 2009, ed. Albert Clement and Eric Jas, Turnhout, 2011, 23–47
Milsom, John, “Style and Idea in Josquin’s Cueur langoreulx,” JAF (forthcoming, 2015)
Owens, Jessie Ann, Composers at Work: The Craft of Musical Composition 1450–1600, New York and Oxford, 1997
Rifkin, Joshua, “A Black Hole? Problems in the Motet around 1500,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste, Turnhout, 2012, 21–82
Rifkin, Joshua, “Munich, Milan, and a Marian Motet: Dating Josquin’s Ave Maria … virgo serena,” JAMS 56 (2003), 239–350
Strohm, Reinhard, The Rise of European Music, 1380–1500, Cambridge, 1993
Taruskin, Richard, The Oxford History of Western Music, New York and Oxford, 2005
Wegman, Rob C., “Isaac’s Signature,” JM 28 (2011), 9–33

Bibliography

Beiche, Michael, “Fuga/Fuge,” in Handwörterbuch der musikalischen Terminologie, ed. Hans Heinrich Eggebrecht, Stuttgart, 1972–2006
Bent, Margaret, ed., Bologna Q15: The Making and Remaking of a Musical Manuscript: Introductory Study and Facsimile Edition, Lucca, 2008
Blackburn, Bonnie J., “Lorenzo de’ Medici, a Lost Isaac Manuscript, and the Venetian Ambassador,” in Musica Franca: Essays in Honor of Frank A. D’Accone, ed. Irene Alm, Alyson McLamore, and Colleen Reardon, Stuyvesant, NY, 1996, 19–44
Boorman, Stanley, Ottaviano Petrucci: A Catalogue Raisonné, New York, 2006
Brand, Benjamin, “A Medieval Scholasticus and Renaissance Choirmaster: A Portrait of John Hothby at Lucca,” Renaissance Quarterly 63 (2010), 754–806
Brown, Howard Mayer, “The Mirror of Man’s Salvation: Music in Devotional Life about 1500,” Renaissance Quarterly 43 (1990), 744–73
Burn, David, “Further Observations on Stacked Canon and Renaissance Compositional Procedure: Gascongne’s ‘Ista Est Speciosa’ and Forestier’s ‘Missa L’Homme Armé’,” Journal of Music Theory 45 (2001), 73–118
Butler, Gregory G.The Fantasia as Musical Image,” MQ 60 (1974), 602–15
Canguilhem, Philippe (trans. Alexander Stalarow), “Singing upon the Book according to Vicente Lusitano,” EMH 30 (2011), 55–103
Ciconia, Johannes, The Works of Johannes Ciconia, ed. Margaret Bent and Anne Hallmark, PMFC 24, Monaco, 1985
Collins, Denis, “‘So You Want to Write a Canon?’ An Historically-Informed New Approach for the Modern Theory Class,” College Music Symposium 48 (2008), 108–23
Collins, Denis, “Zarlino and Berardi as Teachers of Canon,” Theoria 7 (1993), 103–23
Compère, Loyset, Opera omnia, ed. Ludwig Finscher, 5 vols., CMM 15, n.p., 1958–72
Cumming, Julie E., “Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac,” JM 28 (2011), 231–88
Cumming, Julie E., “From Two-Part Framework to Movable Module,” in Medieval Music in Practice: Essays in Honor of Richard Crocker, ed. Judith Peraino, Münster, 2013
Cumming, Julie E., “From Variety to Repetition: The Birth of Imitative Polyphony,” Yearbook of the Alamire Foundation 6, ed. Bruno Bouckaert and Eugeen Schreurs, Peer, 2008, 21–44
Cumming, Julie E., The Motet in the Age of Du Fay, Cambridge, 1999
Cumming, Julie E., “Text Setting and Imitative Technique in Petrucci’s First Five Motet Prints,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste, Turnhout, 2012, 83–109
Cumming, Julie E. and Peter Schubert, “Patterns of Imitation, 1450–1508,” paper presented at the conference on Medieval and Renaissance Music, Utrecht, 2009, and at the Annual Meeting of the American Musicological Society, Philadelphia, 2009
Dufay, Guillaume, Opera omnia, ed. Heinrich Besseler, 6 vols., CMM 1, Rome, 1951–66
Fallows, David, Josquin, Turnhout, 2009
Fallows, David, “Josquin and Trent 91: Thoughts on Omnium bonorum plena and his Activities in the 1470s,” in Manoscritti di polifonia nel Quattrocento europeo: Atti del Convegno internazionale di studi, Trento – Castello del Buonconsiglio, 18–19 ottobre 2002, ed. Marco Gozzi, Trent, 2004, 205–12
Froebe, Folker, “Satzmodelle des ‘Contrapunto alla mente’ und ihre Bedeutung für den Stilwandel um 1600,” Zeitschrift der Gesellschaft für Musiktheorie 4 (2007), 13–55, www.gmth.de/zeitschrift/artikel/244.aspx
Gauldin, Robert, “The Composition of Late Renaissance Stretto Canons,” Theory and Practice 21 (1996), 29–54
Glareanus, Henricus, Dodecachordon, Basel, 1547; facs. Hildesheim, 1969, and New York, 1967; trans. Clement A. Miller, [Rome], 1965
Gosman, Alan, “Stacked Canon and Renaissance Compositional Procedure,” Journal of Music Theory, 41 (1997), 289–317
Grimshaw, Julian, “Morley’s Rule for First-Species Canon,” EM 34 (2006), 661–66
Heyden, Sebald, De arte canendi, Nuremburg, 1540; facs. New York, 1969; trans. Clement A. Miller, [Rome], 1972
Hothby, Johannes, De arte contrapuncti, ed. Gilbert Reaney, CSM 26, Neuhausen-Stuttgart, 1977
Luko, Alexis, “Tinctoris on Varietas, ” EMH 27 (2008), 99–136
Milsom, John, “Absorbing Lassus,” EM 33 (2005), 305–20
Milsom, John, “‘Imitatio,’ ‘Intertextuality,’ and Early Music,” in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Suzannah Clark and Elizabeth Eva Leach, Woodbridge, 2005, 141–51
Milsom, John, “Josquin des Prez and the Combinative Impulse,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste, Turnhout, 2012, 211–46
Montanos, Francisco de, Arte de musica theorica y pratica, Valladolid, 1592. Trans. Dan M. Urquhart, “Francisco de Montanos’s Arte de musica theorica y pratica: A Translation and Commentary,” Ph.D. diss., Eastman School of Music, 1969
Morley, Thomas, A Plaine and Easie Introduction to Practicall Musicke, London, 1597; facs. Amsterdam, 1969. Ed. R. Alec Harman, New York, 1973
Owens, Jessie Ann, Composers at Work: The Craft of Musical Composition, 1450–1600, New York, 1997
Owens, Jessie Ann, “The Milan Partbooks: Evidence of Cipriano de Rore’s Compositional Process,” JAMS 37 (1984), 270–98
Rifkin, Joshua, “A Black Hole? Problems in the Motet around 1500,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Thomas Schmidt-Beste, Turnhout, 2012, 21–82
Rifkin, Joshua, “Busnoys and Italy: The Evidence of Two Songs,” in Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, ed. Paula Higgins, Oxford, 1999, 505–71
Rifkin, Joshua, “Munich, Milan, and a Marian Motet: Dating Josquin’s Ave Maria … virgo serena,” JAMS 56 (2003), 239–350
Rodio, Rocco, Regole di musica, Naples, 1609; facs. Bologna, 1981
Sancta Maria, Thomas de, Libro llamado el arte de tañer fantasía, Valladolid, 1565; facs. Geneva, 1973, Barcelona, 2007. Trans. Almonte Howell, Jr. and Warren E. Hultberg, Pittsburgh, 1991
Schubert, Peter, “Counterpoint Pedagogy in the Renaissance,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen, Cambridge, 2002, 503–33
Schubert, Peter, “From Improvisation to Composition: Three 16th-Century Case Studies,” in Improvising Early Music, ed. Dirk Moelants, Collected Writings of the Orpheus Institude, Ghent, 2014, 93–130
Schubert, Peter, “Hidden Forms in Palestrina’s First Book of Four-Voice Motets,” JAMS 60 (2007), 483–556. For a corrected version of the appendix see www.music.mcgill.ca/~schubert
Schubert, Peter, “A Lesson from Lassus: Form in the Duos of 1577,” Music Theory Spectrum 17 (1995), 1–26
Schubert, Peter, Modal Counterpoint, Renaissance Style, 2nd edn., New York, 2008
Schubert, Peter, “Musical Commonplaces in the Renaissance,” in Music Education in the Middle Ages and the Renaissance, ed. Russell E. Murray, Jr., Susan Forscher Weiss, and Cynthia J. Cyrus, Bloomington, IN, 2010, 161–92
Schubert, Peter and Julie E. Cumming. “Text and Motif c. 1500: A New Approach to Text Underlay,” EM 40 (2012), 3–14
Sparks, Edgar H., “Some Uses of Imitation in Sacred Music of the 15th Century,” JAMS 5 (1952), 269
Taruskin, Richard, The Oxford History of Western Music, 6 vols., Oxford, 2005
Urquhart, Peter, “Calculated to Please the Ear: Ockeghem’s Canonic Legacy,” TVNM 47 (1997), 72–98
Vicentino, Nicola, L’antica musica ridotta alla moderna prattica, Rome, 1555; facs. Kassel, 1959. Trans. Maria Rika Maniates as Ancient Music Adapted to Modern Practice, New Haven, 1996
Wegman, Rob C., “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries 1450–1500,” JAMS 49 (1996), 409–79
Winkler, Heinz-Jürgen, Die Tenormotetten von Johannes Regis in der Überlieferung des Chigi-Codex, 2 vols., Capellae Apostolicae Sixtinaeque collectanea acta monumenta 5, Vatican City, 1999
Zarlino, Gioseffo, Le istitutioni harmoniche, Venice, 1558, 1571, and 1573; facs. of 1558 and 1573, New York, 1965; facs. of 1573, Ridgewood, NJ, 1966. Part 3 of 1558 trans. Guy A. Marco and Claude V. Palisca, New Haven, 1968