scholarly journals Stefan Prey, Algorithmen zur Satztechnik und ihre Anwendung auf die Analyse, Phil. Diss., Universität Osnabrück 2012 Immanuel Ott, Methoden der Kanonkomposition bei Josquin Des Prez und seinen Zeitgenossen (= Schriften der Musikhochschule Lübeck, Bd. 1), Hildesheim: Olms 2014

10.31751/945 ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 371-376
Author(s):  
Michael Polth
Keyword(s):  
Josquin Des Prez ◽  
Universität Osnabrück

Josquin des Prez, Renaissance Historiography, and the Cultures of Print

2011 ◽  
pp. 353-380
Author(s):  
Kate van Orden
Keyword(s):  
Sixteenth Century ◽  
Information Sources ◽  
Historical Evidence ◽  
Josquin Des Prez ◽  
Lack Of Information ◽  
Renaissance Studies

This article studies Josquin des Prez, a musical genius who refused to compose on request and was an individualist who represented the new spirit of humanism. It notes the lack of information sources or print for studies on Josquin. This makes him a good example of how musicologists who carry out research on the sixteenth century are often forced to go to the extremes in order to recover even the tiniest shreds of historical evidence. Nevertheless, this article focuses on information gathered by several researchers about Josquin, including his importance in Renaissance studies.

Munich, Milan, and a Marian Motet: Dating Josquin's Ave Maria …… virgo serena

2003 ◽  
Vol 56 (2) ◽  
pp. 239-350 ◽  
Author(s):  
Joshua Rifkin
Keyword(s):  
Potential Conflict ◽  
Josquin Des Prez ◽  
Recent Developments ◽  
Intensive Investigation ◽  
The Relationship

Abstract Recent developments in the biography of Josquin des Prez have focused new attention on the motet Ave Maria …… virgo serena. In 1974, Thomas Noblitt showed that watermark evidence assigned a copy of the piece in Munich, Bayerische Staatsbibliothek, Mus. ms. 3154 to 1476; the dating appeared unassailable philologically, and the style of the music tied it to a repertory created at the court of Milan in a period when Josquin supposedly worked there. But with the discovery by Lora Matthews and Paul Merkley that Josquin had no connection with Milan until 1484, a potential conflict between style, date, and perhaps authorship has emerged. Reexamination of the motet and its transmission affirms both the Milanese character of the music and Josquin's authorship; a more intensive investigation of the relationship between script and paper in Munich 3154, however, shows that the Ave Maria represents a previously unrecognized phase in the work of its copyist, datable to 1485 or an adjacent year. Even against this revised background, Munich 3154 remains the earliest securely datable source for any music of Josquin, and the Ave Maria seems in all likelihood the earliest composition of his that we can identify.

Josquin des Prez

2020 ◽  
pp. 251-264
Author(s):  
Christopher Ruth
Keyword(s):  
Josquin Des Prez

Martin Luther and the Arts: Music, Poetry, and Hymns

2017 ◽  
Author(s):  
Johannes Schilling
Keyword(s):  
Martin Luther ◽  
Musical Culture ◽  
Josquin Des Prez ◽  
The Arts ◽  
The People ◽  
The Reformation ◽  
The World ◽  
Close Relationship ◽  
Church And Society ◽  
Sacred Songs

From the beginning of the Reformation, Martin Luther had a significant impact on church and society through his contributions to sacred music. His intention to spread the gospel among the people through song achieved its manifold purpose. This remains true not only for his own time but for the following centuries up to the present day, all over the world. Other poets, contemporaries and descendants alike, were inspired by Luther’s songs and composed their own hymns. Among these the most significant ones in German literature, poetically and theologically, are Paul Gerhardt (1607–1676) and Jochen Klepper (1903–1942). Luther’s lifelong love of music was accompanied by an in-depth musical education. He knew secular and sacred songs from an early age, played the lute well, and sang in the convent when he was a monk, as a husband and father with his family, and as a professor with his students. Music was an indispensable part of his life. He first began writing sacred songs in 1523, sometimes composing the melody as well. He also crafted a four-part motet. Luther was able to assess the composers of his time well. He considered Josquin des Prez (d. 1521) the greatest master, and among his living contemporaries he appreciated in particular Ludwig Senfl (c. 1490–1543). He was also acquainted with other composers and their works. The incorporation and promotion of music in the schoolroom resulted in a close relationship between church and school, as well as between classrooms and religious services. Pupils took part through chanting at services, and the evangelical hymns in the chantry were spread through the choir’s chanting books. Numerous musical prints originated in Georg Rhau’s printing shop in Wittenberg that carried the Protestant repertoire into the world. From central Germany, starting in Saxony and Thuringia, the Protestant musical culture covered all of evangelical Germany and later shaped Protestant musical culture. In addition to choir-related music, it cultivated the musical rendering of biblical texts. Heinrich Schütz and Johann Sebastian Bach are the finest representatives of this specific Protestant musical culture. In addition, the culture of the organ, first cultivated in northern Germany, became widespread. One of several masters of the organ was Dieterich Buxtehude (c. 1637–1707), who established evening concerts in Lübeck, which in turn served as precursors to the bourgeois musical culture. Luther’s approach to music is formed through the conviction that music is a particularly beautiful and unique offering of the divine creation. Music moves human hearts and allows them to anticipate the heavens. To bring people joy and to praise the Lord is music’s true task and, indeed, its service.

Teil III: Die Verkehrsbilanz der Universität Osnabrück

1999 ◽  
Vol 11 (3) ◽  
pp. 167-175 ◽  
Author(s):  
Peter Viebahn ◽  
Lutz Huischen ◽  
Michael Matthies
Keyword(s):  
Universität Osnabrück

Josquin and Milan

1996 ◽  
Vol 5 (1) ◽  
pp. 69-80 ◽  
Author(s):  
David Fallows
Keyword(s):  
Central Place ◽  
Josquin Des Prez ◽  
New Evidence

Writing in 1882, Edmond Vander Straeten was the first to argue that the name ‘Juschino’ among the singers of Galeazzo Maria Sforza's household chapel referred to the composer Josquin des Prez. Assuming a birthdate in the early 1450s, Vander Straeten found it easy to understand why the young Josquin was at the bottom of the salary scale in 1475, the date of the documents. Soon afterwards, Eugenio Motta provided new evidence to support that identification and stretch Josquin's Milanese career to 1479. Since then the years in Milan have had a fixed and central place in all studies of Josquin's life.

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