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Josquin's RomeHearing and Composing in the Sistine Chapel$
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Jesse Rodin

Print publication date: 2012

Print ISBN-13: 9780199844302

Published to Oxford Scholarship Online: May 2013

DOI: 10.1093/acprof:oso/9780199844302.001.0001

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Super voces musicales and the L’homme armé Tradition

Super voces musicales and the L’homme armé Tradition

Chapter:
(p.233) Chapter six Super voces musicales and the L’homme armé Tradition
Source:
Josquin's Rome
Author(s):

JOSQUIN’S ROME

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199844302.003.0007

Famous for its culture of compositional one-upmanship, the L’homme armé tradition reached an apex toward the end of the 15th century. Chapter 6 turns a microscope on Josquin’s Missa L’homme armé super voces musicales, possibly the most famous L’homme armé mass ever composed, in order to uncover points of connection with other settings. It argues that the extraordinary technical complexity that underpins Josquin’s mass has its roots in the music of Du Fay, Busnoys, de Orto, and, above all, Ockeghem, to whom Josquin’s setting can be read as both an homage and a competitive response.

Keywords:   L’homme armé, Josquin des Prez, Johannes Ockeghem, Guillaume Du Fay, Antoine Busnoys, Marbrianus de Orto, musical borrowing

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