This chapter confronts problems of authorship and chronology that have long plagued Josquin scholarship. Taking a critical stance toward recent work in this area, it argues that there is too little evidence upon which to base a characterization of Josquin’s compositional development before his entry into the papal chapel, but suggests there is ample documentation of the composer’s Roman period. Chapter 1 identifies and provides overviews of several pieces that can be associated with Josquin’s tenure in Rome. It concludes by attempting to sort out the dating of an especially problematic composition.
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