What pieces did Josquin and his contemporaries sing while members of the papal choir? How did the chapel go about collecting music during this period? Can any patterns be discerned in the repertory copied in Rome? This chapter addresses these and related questions about the chapel’s late 15th-century holdings while also sorting out several codicological anomalies associated with its large-format choirbooks. It argues that our picture of the repertory is surprisingly complete, as most of these choirbooks appear to have survived to the present day. Chapter 3 concludes with a case study that hones in on the elusive relationship between polyphonic composition and liturgical function.
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