scholarly journals Dwie msze ad imitationem z rękopisu Kk I.1. Josquin des Prez/Krzysztof Borek(?): „Missa mater matris”. Pierre Certon: „Missa le temps qui court”, wyd. Elżbieta Zwolińska, Kraków 2016; Tomasz z Szadka: dwie msze z rękopisu Kk I.1. i motet, wyd. Piotr Poźni

Muzyka ◽  
2018 ◽  
Vol 63 (3) ◽  
pp. 150-159
Author(s):  
Tomasz Jasiński
Keyword(s):  
Josquin Des Prez

Recenzja dwóch edycji: "Dwie msze ad imitationem z rękopisu Kk I.1. Josquin des Prez/Krzysztof Borek(?): Missa mater matris. Pierre Certon: Missa le temps qui court", wyd. Elżbieta Zwolińska, Kraków 2016; "Tomasz z Szadka: dwie msze z rękopisu Kk I.1. i motet", wyd. Piotr Poźniak, Kraków 2016.

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.

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.

Ave festiva ferculis and Josquin's Spanish Reputation

2003 ◽  
Vol 128 (1) ◽  
pp. 1-29
Author(s):  
Kenneth Kreitner
Keyword(s):  
Strong Influence ◽  
Sacred Music ◽  
Josquin Des Prez ◽  
Spanish Music

Tarazona 2/3, a cathedral manuscript preserving mostly the music of Peñalosa and his Spanish contemporaries, contains one motet, with the text ‘Ave festiva ferculis’, attributed to ‘Jusquin’. It is a strange piece of music, clearly not the work of Josquin des Prez, but also very unusual within the manuscript, and its misattribution suggests that Josquin's actual music was not a familiar icon in Spain c.1530. This impression is supported by the sources, which reveal a real Spanish Josquin craze beginning in the 1540s, but a much spottier picture, emphasizing the early sacred music, in the decades before. Josquin's strong influence on Spanish music came late.

scholarly journals Rome after Josquin

2021 ◽  
Vol 38 (1) ◽  
pp. 67-108
Author(s):  
Brett Kostrzewski
Keyword(s):  
Roman Period ◽  
Josquin Des Prez ◽  
Royal Court ◽  
Sistine Chapel ◽  
Italian Campaign

The “Roman period” of Josquin des Prez resulted in a small but impressive body of work, and the Missa La sol fa re mi has been received as one of the most substantial and finest members of this corpus. Closer inspection of the transmission of this mass, however, suggests that despite its copying at the Sistine Chapel before 1500, there is reason to situate it instead among the problematic and derivative copies of Josquin’s music made at the papal chapel after his departure. I argue that rather than originating from the composer’s tenure in Rome, the Missa La sol fa re mi entered the papal chapel repertoire as part of an influx of music by composers associated with the French royal court surrounding the Italian campaign of King Charles VIII in 1494–95. Decoupling the Missa La sol fa re mi from Josquin’s tenure at the papal chapel raises new possibilities surrounding his works-chronology, biography, and milieu.

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