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  • Print publication year: 2015
  • Online publication date: July 2015

4 - TheL’homme armétradition – and the limits of musical borrowing

from Part I - Historiography


Bate, Walter Jackson, The Burden of the Past and the English Poet, Cambridge, MA, 1970
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
Benthem, Jaap van, “Kompositorisches Verfahren in Josquins Proportionskanon ‘Agnus Dei’: Antwort an Edward Stam,” TVNM 26 (1976), 9–16
Berger, Anna Maria Busse, Medieval Music and the Art of Memory, Berkeley, 2005
Blachly, Alexander, “Reading Tinctoris for Guidance on Tempo,” in Antoine Busnoys, ed. Higgins, 399–427
Bloom, Harold, The Anxiety of Influence: A Theory of Poetry, New York, 1973
Brown, Howard Mayer, “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance,” JAMS 35 (1982), 1–48
Burkholder, J. Peter, “The Uses of Existing Music: Musical Borrowing as a Field,” Notes 50 (1994), 851–70
Burn, David, “‘Nam erit haec quoque laus eorum’: Imitation, Competition, and the ‘L’homme armé’ Tradition,” Revue de musicologie 87 (2001), 249–87
Busnoys, Antoine, Collected Works, ed. Richard Taruskin, Masters and Monuments of the Renaissance 5, New York, 1990
Chew, Geoffrey, “The Early Cyclic Mass as an Expression of Royal and Papal Supremacy,” ML 53 (1972), 254–69
Eliot, T. S., “Tradition and the Individual Talent,” in The Sacred Wood: Essays on Poetry and Criticism, London, 1920, repr. 1932, 47–59
Fallows, David, A Catalogue of Polyphonic Songs, 1415–1480, Oxford, 1999
Fallows, David, “L’homme armé,” Grove Music Online
Fallows, David, “Letter from David Fallows,” JAMS 40 (1987), 146–48
Fitch, Fabrice, Johannes Ockeghem: Masses and Models, Paris, 1997
Gallagher, Sean, Johannes Regis, Turnhout, 2010
Gallagher, Sean, “Models of Varietas: Studies in Style and Attribution in the Motets of Johannes Regis and his Contemporaries,” Ph.D. diss., Harvard University, 1998
Gallagher, Sean, “Ockeghem’s Oronyms: Gesture and Tempo in the Missa L’homme armé,” paper read on 23 April 2009 at Stanford University as part of the symposium Reading and Hearing Johannes Ockeghem
Gallagher, Sean, “Syntax and Style: Rhythmic Patterns in the Music of Ockeghem and his Contemporaries,” in Johannes Ockeghem: Actes du XLe colloque international d’études humanistes. Tours, 3–8 février, 1997, ed. Philippe Vendrix, Paris, 1998, 681–705
Ginzburg, Carlo, “Clues: Roots of an Evidential Paradigm,” in Ginzburg, Clues, Myths, and the Historical Method, trans. John and Anne C. Tedeschi, Baltimore, 1992, 96–125
Glareanus, Henricus, Dodecachordon: Translation, Transcription, and Commentary, ed. Clement A. Miller, 2 vols., [Rome], 1965
Heide, Klaas van der, “New Claims for a Burgundian Origin of the L’homme armé Tradition, and a Different View on the Relative Positions of the Earliest Masses in the Tradition,” TVNM 55 (2005), 3–33
Higgins, Paula, “In hydraulis Revisited: New Light on the Career of Antoine Busnois,” JAMS 39 (1986), 36–86
Higgins, Paula, ed., Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, Oxford, 1999
Hollander, John, The Figure of Echo: A Mode of Allusion in Milton and After, Berkeley, 1981
Holmes, E., Review of “Haydn’s Masses No. III,” Musical Times and Singing Class Circular 7 (1855), 131–40,
Houghton, Edward, “A ‘New’ Motet by Johannes Regis,” TVNM 33 (1983), 49–74
Kirkman, Andrew, The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival, Cambridge, 2010
LaRue, Jan, “Significant and Coincidental Resemblance between Classical Themes,” JAMS 14 (1961), 224–34, repr. JM 18 (2001), 268–82,
Lemaire, Claudine, and Robert Wangermée, “Le Rondeau Il sera par vous combattu/L’homme armé, poème de l’équivoque?,” Revue belge de musicologie 56 (2002), 145–58
Lockwood, Lewis, “Aspects of the L’homme armé Tradition,” Proceedings of the Royal Music Association 100 (1973–74), 97–122
Long, Michael, “Arma virumque cano: Echoes of a Golden Age,” in Antoine Busnoys, ed. Higgins, 133–54
Meconi, Honey, “Does Imitatio Exist?,” JM 12 (1994), 152–78
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
Monumenta Polyphoniae Liturgicae Sanctae Ecclesiae Romane, ed. Laurence Feininger, Series I, Tomi I and III, Rome, 1948/1957–66
Perkins, Leeman L., “The L’homme armé Masses of Busnoys and Okeghem: A Comparison,” JM 3 (1984), 363–96
Planchart, Alejandro Enrique, “The Origins and Early History of L’homme armé,” JM 20 (2003), 305–57
Prizer, William F., “Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece,” EMH 5 (1985) 113–53
Prout, Ebenezer, “Handel’s Chandos Anthems,” Musical Times and Singing Class Circular 17 (1876), 391–94
Reynolds, Christopher A., “The Counterpoint of Allusion in Fifteenth-Century Masses,” JAMS 45 (1992), 228–60
Rodin, Jesse, Josquin’s Rome: Hearing and Composing in the Sistine Chapel, New York, 2012
Rodin, Jesse, “A ‘Most Laudable Competition’? Hearing and Composing the Beata Virgine Masses of Josquin and Brumel,” TVNM 59 (2009), 3–24
Rodin, Jesse, “‘When in Rome …’: What Josquin Learned in the Sistine Chapel,” JAMS 61 (2008), 307–72
Sparks, Edgar H., Cantus Firmus in Mass and Motet 1420–1520, Berkeley, 1963, repr. New York, 1975
Strohm, Reinhard, “Letter from Reinhard Strohm,” JAMS 40 (1987), 576–79
Strohm, Reinhard, Music in Late Medieval Bruges, New York, 1985, rev. edn. 1990
Strohm, Reinhard, The Rise of European Music, 1380–1500, Cambridge, 1993
Strunk, Oliver, “Origins of the L’homme armé Mass,” Bulletin of the American Musicological Society 2 (1937), 25–26
Taruskin, Richard, “Antoine Busnoys and the L’homme armé Tradition,” JAMS 39 (1986), 255–93, and the responses by David Fallows, Reinhard Strohm, and Rob C. Wegman, in JAMS 40 and 42
Warmington, Flynn, “The Ceremony of the Armed Man: The Sword, the Altar, and the L’homme armé Mass,” in Antoine Busnoys, ed. Higgins, 88–130
Wegman, Rob C., “Another ‘Imitation’ of Busnoys’s Missa L’homme armé – and Some Observations on Imitatio in Renaissance Music,” JRMA 114 (1989), 189–202
Wegman, Rob C., Born for the Muses: The Life and Masses of Jacob Obrecht, Oxford, 1994
Wegman, Rob C., “Letter from Rob C. Wegman,” JAMS 42 (1989), 437–43
Wegman, Rob C., “Mensural Intertextuality in the Sacred Music of Antoine Busnoys,” in Antoine Busnoys, ed. Higgins, 175–214
Wright, Craig, The Maze and the Warrior: Symbols in Architecture, Theology, and Music, Cambridge, MA, 2001
Zazulia, Emily, “Tinctoris the Reader,” forthcoming