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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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Intersections and Borrowings

Intersections and Borrowings

Chapter:
(p.269) Chapter seven Intersections and Borrowings
Source:
Josquin's Rome
Author(s):

JOSQUIN’S ROME

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199844302.003.0008

Moving outward from L’homme armé, the final chapter places Josquin’s Roman compositions in context by showing how they dovetail in compositional technique with several other works of the period. It does so through three case studies: first, by seeking out the origins of conspicuous repetition in the music of Antoine Busnoys while also tracing related techniques in works by Jacob Obrecht, Marbrianus de Orto, and in plainsong; second, by situating Josquin’s habit of quoting the Credo I chant alongside another pre-existing melody in a much wider context, one that turns up connections with the music of de Orto and Loyset Compère; and third, by considering a case in which Josquin appears to have “edited” weaknesses he observed in a setting of the tract Domine non secundum peccata by his Roman colleague Bertrandus Vaqueras. Taken together these analyses offer an image of Josquin as a composer deeply attuned to the music of his time.

Keywords:   Josquin des Prez, conspicuous repetition, Antoine Busnoys, Jacob Obrecht, Marbrianus de Orto, Loyset Compère, Bertrandus Vaqueras, musical borrowing, Credo I, cantus firmus treatment

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