Readings

Read More about Lost Voices

Freedman, Richard, Jamie Apgar, and Micah Walter, “In Search of Lost Voices” Journal of the Alamire Foundation 9/2 (2017), 319-53. https://www.brepolsonline.net/doi/abs/10.1484/J.JAF.5.115547

Freedman, Richard. “The Renaissance Chanson Goes Digital: digitalduchemin.org,” Early Music 42 (2014), 567–78. https://doi.org/10.1093/em/cau108

For Further Study

SOUND RECORDINGS

• Les Cris de Paris. Chansons de Janequin et Sermisy (Ensemble Clément Janequin). http://www.worldcat.org/oclc/36863959
• Le chasse et autre chansons (Ensemble Clément Janequin). http://www.worldcat.org/oclc/29594648
• Le chant des oyseaulx (Enemble Clément Janequin). http://www.worldcat.org/oclc/26342599
• The Siena Lute Book (Jacob Heringman) http://www.worldcat.org/oclc/57176932

COUNTERPOINT AND FUGA

• Julie E. Cumming, "Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac," Journal of Musicology 28 (2011), 231-88. http://www.jstor.org/stable/10.1525/jm.2011.28.3.231
• Julie E. Cumming, “Text Setting and Imitative Technique in Petrucci’s First Five Motet Prints,” in The Motet around 1500: On the Relationship of Imitation and Text Treatment, ed. Thomas Schmidt-Beste (Turnhout: Brepols, in press), 63–90. http://www.worldcat.org/oclc/698170909
• Julie E. Cumming, “From Two-Part Framework to Movable Module” forthcoming in Richard Crocker Festschrift.
• Richard Crocker, "Discant, Counterpoint and Harmony," JAMS 15 (1962), 1-21. http://www.jstor.org/stable/830051
• James Haar, "Zarlino's Definition of Fugue and Imitation," JAMS 24 (1971), 226-54. http://www.jstor.org/stable/830492
• John Milsom, 'Crecquillon, Clemens, and Four-Voice Fuga', in Eric Jas (ed.), Beyond Contemporary Fame: Reassessing the Art of Clemens non Papa and Thomas Crecquillon (Turnhout: Brepols, 2005), pp. 293-345. http://www.worldcat.org/oclc/63764203
• John Milsom, "Absorbing Lassus," Early Music 23 (2005), 99-114 and 305-20.http://www.jstor.org/stable/3519455, http://www.jstor.org/stable/3519519
• John Milsom, "Imitatio", "Intertextuallity", and Early Music' in Suzannah Clark and Elizabeth Eva Leach (eds.), Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned (Woodbridge, Suffolk, and Rochester: Boydell and Brewer, 2005), 141-51. http://www.worldcat.org/oclc/59011582
• John Milsom, "Analyzing Josquin," in The Josquin Companion, ed. Richard Sherr (Oxford: New York: Oxford University Press, 2000), pp. 431-84. http://www.worldcat.org/oclc/44493382
• Benito Rivera, "Harmonic Theory in the Musical Treatises of the Late 15th and Early 16th Centuries," Music Theory Spectrum 1 (1979), 80-95. http://www.jstor.org/stable/854216
• Peter N. Schubert, Modal Counterpoint, Renaissance Style, 2^nd edn. (New York and Oxford: Oxford University Press, 2008). http://www.worldcat.org/oclc/163708019
• Peter Schubert, "Musical Commonplaces in the Renaissance," in Music Education in the Middle Ages and the Renaissance, ed. Russell E. Murray, Susan Forscher Weiss, and Cynthia J. Cyrus (Bloomington and Indianapolis: Indiana University Press, 2010), pp. 161-92. http://www.worldcat.org/oclc/657643811

HARMONY AND IMPROVISED COUNTERPOINT

• Bonnie J. Blackburn, "The Dispute about Harmony c. 1500 and the Creation of a New Style," Théorie et analyse musicales 1450-1650 Music Theory and Analysis. Proceedings of the International Conference Louvain-la-Neuve, 23-25 September 1999, ed. Anne-Emmanuelle Ceulemans and Bonnie J. Blackburn (Louvain-la-Neuve: Département d'histoire de l'art et d'archéologie, Collège Erasme, 2001), pp. 1-38. http://www.worldcat.org/oclc/49968928
• Philippe Canguilhem, "Singing Upon the Book According to Vicente Lusitano," Early Music History 30 (2011), 55-103. http://www.worldcat.org/oclc/8595852
• Tim Carter, "Improvised Counterpoint in Monteverdi's 1610 Vespers," in Jenni Bloxam, Filocamo and Leofranc Holford-Strevens, eds. Uno gentile et subtile ingenio: studies in Renaissance music in honour of Bonnie J. Blackburn, ed. Mary Jennifer Bloxam, Gioia Filocamo, Leofranc Holford-Strevens (Turnhout: Brepols, 2009), pp. 29-35. http://www.worldcat.org/oclc/427321743
• Folker Froebe "Satzmodelle des Contrapunto alla mente und ihre Bedeutung für den Stilwandel um 1600'. Zeitschrift der Gesellschaft für Musiktheorie, 4 (2007), 13-55. http://www.gmth.de/zeitschrift/artikel/244.aspx
• Richard Hudson, "The Folia, Fedele, and Falsobordone," The Musical Quarterly, 58 (1972), 398-411. http://www.jstor.org/stable/741476
• Joel Lester, "Root-Position and Inverted Triads in Theory around 1600," JAMS, 27 (1974), 110-19. http://www.jstor.org/stable/830519
• Stephen Rice, "Aspects of Counterpoint Theory in the Tractado de canto mensurable (1535) of Matheo de Aranda," in Jenni Bloxam, Filocamo and Leofranc Holford-Strevens, eds. Uno gentile et subtile ingenio: studies in Renaissance music in honour of Bonnie J. Blackburn, ed. Mary Jennifer Bloxam, Gioia Filocamo, Leofranc Holford-Strevens (Turnhout: Brepols, 2009), pp. 63-73. http://www.worldcat.org/oclc/427321743
• Roig-Francoli, "Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation," Early Music 23 (1995), 461-71. http://www.jstor.org/stable/3138122

COMPOSITIONAL PROCESS, TOPOI, ANALYSIS, RECONSTRUCTION

• Margaret Bent, "The Grammar of Early Music: Preconditions for Analysis," in Cristle Collins Judd, ed., Tonal Structures in Early Music (New York, 1998), pp. 15-59. http://www.worldcat.org/oclc/38002666
• Theodor Dumitrescu, “Reconstructing and Repositioning Regis’s Ave Maria . . . virgo serena,” Early Music 37 (2009): 73–88. http://www.jstor.org/stable/27655301
• James Haar, "Lessons in Theory from a Sixteenth-Century Composer, in R. Charteris, ed. Altro Polo: Essays on Italian Music in the Cinquecento (Sydney, 1990), pp. 51-81. http://www.worldcat.org/oclc/20905232
• James MacKay, "Toward a Theory of Formal Function for Renaissance Music," Indiana Theory Review 23 (2002), 99-131. http://www.worldcat.org/oclc/163566994
• Russell E. Murray, "The Theorist as Critical Listener: Pietro Pontio's Nine Cause di varietà," Theoria: Historical Aspects of Music Theory 10 (2003), 19-57. http://www.worldcat.org/oclc/12979399
• Alexis Luko, “Tinctoris on Varietas,” Early Music History 27 (2008), 99-136. http://www.worldcat.org/oclc/8595852
• Jessie Ann Owens, Composers at Work: The Craft of Musical Composition 1450-1600 (Oxford: Oxford University Press, 1997). http://www.worldcat.org/oclc/33047219
• Peter Schubert, "Hidden Forms in Palestrina's First Book of Four-Voice Motets," JAMS 60 (2007), 483-556. http://www.jstor.org/stable/10.1525/jams.2007.60.3.483
• Peter Schubert, "Lesson from Lassus: Form in the Duos of 1577," Music Theory Spectrum 17 (1995), 6-9. http://www.jstor.org/stable/745762
• Peter Schubert, "Musical Commonplaces in the Renaissance," in Music Education in the Middle Ages and the Renaissance, ed. Russell E. Murray, Susan Forscher Weiss, and Cynthia J. Cyrus (Bloomington and Indianapolis: Indiana University Press, 2010), pp. 161-92. http://www.worldcat.org/oclc/657643811

MODE, AFFECT, RANGE, CADENCE

• Bernhard Meier, The Modes of Classical Vocal Polyphony: Described According to the Sources (New York: Broude Bros, 1988). http://www.worldcat.org/oclc/18434358
• Bernhard Meier, “Rhetorical Aspects of the Renaissance Modes,” Journal of the Royal Musical Association 115 (1990), 182-90. http://www.jstor.org/stable/766434
• Anne Smith, The Performance of 16^th-Century Music. Learning from the Theorists (Oxford: OUP, 2011). http://www.worldcat.org/oclc/531718868

STYLE AND CHOICE

• Laurence Dreyfus, Bach and the Pattern of Invention (Cambridge: Harvard University Press, 1996). http://www.worldcat.org/oclc/35084482
• Robert O. Gjerdingen, Music in the Galant Style (Oxford ; New York: Oxford University Press, 2007). http://www.worldcat.org/oclc/71210340
• Robert O. Gjerdingen, "Partimento, que me veux-tu?," Journal of Music Theory 51 (2007), 85-135. http://www.jstor.org/stable/40283109
• Robert O. Gjerdingen, "Gebrauchs-Formulas," Music Theory Spectrum 33 (2011), 191-99. http://www.jstor.org/stable/10.1525/mts.2011.33.2.191
• Leonard B. Meyer, “Grammatical simplicity and relational richness: the trio of Mozart's G minor symphony,” Critical Inquiry 2 (1976), 693-761. http://www.jstor.org/stable/1342817

CANONS

• David Burn, "Further Observations on Stacked Canon and Renaissance Compositional Procedure: Gascongne's "Ista Est Speciosa" and Forestier's "Missa L'homme Armé," Journal of Music Theory 45 (2001), 73-118. http://www.jstor.org/stable/3090649
• Denis Collins, "'So You want to Write a Canon?' An Historically-Informed New Approach for the Modern Theory Class," College Music Symposium 48 (2008), 108-23. http://www.jstor.org/stable/25664812
• Robert Gauldin, "The Composition of late Renaissance Stretto Canons," Theory and Practice 21(1996), 29-54. http://www.worldcat.org/oclc/6704032
• J Alan Gosman, "Stacked Canons and Renaissance Compositional Procedure," Journal of Music Theory 61 (1997), 289-317. http://www.jstor.org/stable/843961
• Julian Grimshaw, "Morley's Rule for First Species Canon," Early Music 34 (2006), 661-66. http://www.jstor.org/stable/4137313
• Katelijne Schiltz, and Bonnie J. Blackburn, eds. Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History ; Proceedings of the International Conference, Leuven, 4-6 October 2005 (Leuven: Peeters, 2007). http://www.worldcat.org/oclc/173071412
• Peter Schubert’s Modal Counterpoint, Renaissance Style, 2d edn (New York and Oxford, Oxford University Press, 1999). Get out your pencil and do the exercises!
• Anne Smith’s The Performance of 16^th-Century Music. Learning from the Theorists (Oxford, 2011).

TREATISES

• Peter Schubert, "Counterpoint Pedagogy in the Renaissance," The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002). http://www.worldcat.org/oclc/45166705
• Claude Martin, Elementorum Musices Practicae (Paris: Du Chemin, 1550). Reprint edn: Méthodes et traités: Renaissance Française, 4 vols, ed. Olivier Trachier (Paris: Fuzeau, 2005). http://www.worldcat.org/oclc/145103607
• Claude Martin, Institution musicale (Paris: Du Chemin, 1556). Reprint edn: Méthodes et traités: Renaissance Française, 4 vols, ed. Olivier Trachier (Paris: Fuzeau, 2005).http://www.worldcat.org/oclc/145103607
• Maximilian Guilliaud, Rudiments de musique practique (Paris: Du Chemin, 1554). Reprint edn: Méthodes et traités: Renaissance Française, 4 vols, ed. Olivier Trachier (Paris: Fuzeau, 2005).http://www.worldcat.org/oclc/145103607
• Michel de Menehou, Nouvelle instruction familiere (Paris: Du Chemin, 1558). Reprint edn: Méthodes et traités: Renaissance Française, 4 vols, ed. Olivier Trachier (Paris: Fuzeau, 2005).http://www.worldcat.org/oclc/145103607
• Johannes Tinctoris, The Art of Counterpoint (Liber de arte contrapuncti), translated and edited by Albert Seay, Musicological Studies and Documents, 3 ([Rome]: American Institute of Musicology, 1961). http://www.worldcat.org/oclc/17708902
• Eulmee Park, "De preceptis artis musicae of Guilielmus Monachus: A New Edition, Translation, and Commentary." Ph.D. Dissertation: Ohio State University, 1993. http://www.worldcat.org/oclc/655159723
• Albert Seay, ed. Guilielmi Monachi: De Preceptis artis musicae, Corpus Scriptorum de Musica, 11 ([Rome]: AIM, 1965). http://www.worldcat.org/oclc/220782359
• Gonzalo Martínez de Bizcargui, Arte de canto llano et de contrapunto et canto de órgano con proporciones et modos (Saragossa, 1508). http://www.worldcat.org/oclc/6090843
• Matheo de Aranda, Tractado de canto mensurable (1535). [See Rice article under Improvised Counterpoint] http://www.worldcat.org/oclc/427321743
• Nicolaus Burtius, Musices Opusculum, trans. Clement A. Miller. ([Rome]: American Institute of Musicology, 1983). http://www.worldcat.org/oclc/20528855
• Franchino Gafori, Practica musicae, trans Clement A. Miller (MSD, 20; n.p.: American Institute of Musicology, 1968), pp. 144-45. http://www.worldcat.org/oclc/460438892
• Vicente Lusitano, Introdutione facilissima et novissima di canto fermo, figurato, contrapunto semplice et in concerto . . . (Rome, 1553). Reprint edn Bologna, 1989. http://www.worldcat.org/oclc/22334726
• Vicente Lusitano, Tratado de canto de organo. Libro segundo : De contrapunto (BNF, ms Esp. 219, f. 13r-62r), ed. and trans Philippe Canguilhem (Turnhout: Brepols, forthcoming).
• Pietro Aaron, Thoscanello de la Musica. A Facsimile of the Venice 1523 Edition, Monuments of Music and Music Literature in Facsimile. Second Series--Music Literature LXIX (New York: Broude Brothers Ltd, 1969). http://www.worldcat.org/oclc/2057844
• Thomas de Sancta Marìa, Libro Llamado Arte De Tañer Fantasia, ed. Denis Stevens ([Franborough, Hants., Eng.]: Gregg International Publishers, 1972). Translation: Thomas de Sancta Maria, The Art of Playing the Fantasia, trans. Almonte C. Howell and Warren E. Hultberg (Pittsburgh, Pa.: Latin American Literary Review Press, 1991). http://www.worldcat.org/oclc/183257954
• Nicola Vicentino, Ancient Music Adapted to Modern Practice, trans. Maria Rika Maniates (New Haven: Yale University Press, 1996). http://www.worldcat.org/oclc/33865014
• Gioseffo Zarlino, The Art of Counterpoint: Part Three of Le Istitutioni Harmoniche, 1558, trans. Guy Marco (New York: Norton, 1976). http://www.worldcat.org/oclc/10292
• Francisco de Montanos, Arte de musica theorica y practica. Valladolid, 1592. Translation: Dan M. Urquhart, "Francisco de Montanos's Arte de musica theorica y pratica: a translation and commentary," Eastman School of Music, 1969. [Also the entire book on GoogleBooks, via Madrid library copy.] http://www.worldcat.org/oclc/23841445
• Pietro Cerone, El melopeo y maestro (Naples: Nucci, 1613). Reprint edition: Pedro Cerone, El Melopeo y Maestro, 2 vols., ed. Antonio Ezquerro Esteban. Monumentos de la música española 74 (Naples, 1613; reprint Barcelona: Consejo superior de investigaciones científicas, 2007). http://www.worldcat.org/oclc/183257948
• Lodovico Zacconi, Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili (Venice: Carampello, 1596). UNT Digital Library. http://digital.library.unt.edu/ark:/67531/metadc25960/.
• Lodovico Zacconi, Prattica di musica, seconde parte (1622). Reprint edn Hildesheim/New York: Georg Olms, 1982.
• Adriano Banchieri, Cartella overo Regole utilissime à quelli che desiderano imparare il Canto Figurato (Venice: Vincenti, 1601). On IMSLP as free download of both first edition (1601) and the third edition (1614).
• Adriano Banchieri, Cento cadenze (Venice: Vincenti, 1614). http://imslp.org/wiki/Cartella_Musicale_%28Banchieri,_Adriano%29
• John Dowland, Andreas Ornithoparcus his Micrologus, or Introduction: Containing the Art of Singing. Digested into Foure Bookes. London: Thomas Adams, 1609. Reprint New York, 1973. http://www.worldcat.org/oclc/804809
• Joachim Burmeister, Musical Poetics, ed. Benito V. Rivera (New Haven: Yale University Press, 1993). http://www.worldcat.org/oclc/26634472
• Girolamo Diruta, Il Transilvano (Venice, 1609, 1622; reprint Bologna: Forni, 1969). "The Transylvanian" (Il Transilvano), 2 vols., ed. Murray C. Bradshaw and Edward J. Soehnlen, Musicological Studies 38/1-2 (Henryville/Ottawa: Institute of Medieaval Music, 1984). (Venice, 1625 edition on IMSLP: http://imslp.org/wiki/Il_Transilvano_%28Diruta,_Girolamo%29)