Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn

	
Front matter (“Preface”, “Tabula Gratulatoria”, “Contents”, “Figures”, “Editions of Complete Pieces”, “Inventories”, “Tables”, “Abbreviations”, “Contributors”), p. i
	
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Naming of Parts: Notes on the Contratenor, c.1350–1450, p. 1
Margaret Bent
https://doi.org/10.1484/M.EM-EB.3.2674
	
	
The Problem of Diminished Counterpoint, p. 13
Anna Maria Busse Berger
https://doi.org/10.1484/M.EM-EB.3.2675
	
	
‘Improvised’ Counterpoint in Monteverdi’s 1610 Vespers, p. 29
Tim Carter
https://doi.org/10.1484/M.EM-EB.3.2676
	
	
Towards a Taxonomy of the ‘Eton Style’, p. 37
Fabrice Fitch
https://doi.org/10.1484/M.EM-EB.3.2677
	
	
‘el foglio rigato’ Revisited: Prepared Paper in Musical Composition, p. 53
Jessie Ann Owens
https://doi.org/10.1484/M.EM-EB.3.2678
	
	
Aspects of Counterpoint Theory in the Tractado de canto mensurable (1535) of Matheo de Aranda, p. 63
Stephen Rice
https://doi.org/10.1484/M.EM-EB.3.2679
	
	
The Beguines of Bruges and the Procession of the Holy Blood, p. 75
Barbara Haggh
https://doi.org/10.1484/M.EM-EB.3.2680
	
	
The Polyphonic Proses of Guillaume Du Fay, p. 87
Alejandro Enrique Planchart
https://doi.org/10.1484/M.EM-EB.3.2681
	
	
Francesco Corteccia’s Hymn for St. John’s Day in the Florentine Liturgy, c.1544–1737, p. 101
Frank A. D’Accone
https://doi.org/10.1484/M.EM-EB.3.2682
	
	
The Repertoire of the Papal Chapel after the Council of Trent: Tradition, Innovation, or Decline?, p. 109
Thomas Schmidt-Beste
https://doi.org/10.1484/M.EM-EB.3.2683
	
	
Imitation, Meditation, and Penance: Don Lodovico Agostini’s Le lagrime del peccatore (1586), p. 121
Laurie Stras
https://doi.org/10.1484/M.EM-EB.3.2684
	
	
«In oratorio nemo aliquid agat»: Savonarola, lo spazio sacro e la musica, p. 129
Giovanni Zanovello
https://doi.org/10.1484/M.EM-EB.3.2685
	
	
Marian Devotions in Early Sixteenth-Century Spain: The Case of the Bishop of Palencia, Juan Rodríguez de Fonseca (1451–1524), p. 137
Tess Knighton
https://doi.org/10.1484/M.EM-EB.3.2686
	
	
The Ceremonial Soft Band of Fifteenth-Century Barcelona, p. 147
Kenneth Kreitner
https://doi.org/10.1484/M.EM-EB.3.2687
	
	
An Early Seventeenth-Century Source for Performing Practices at Toledo Cathedral, p. 155
Michael Noone
https://doi.org/10.1484/M.EM-EB.3.2688
	
	
Speaking of the Devil and Discipuli: Eloy d’Amerval, Saint-Martin of Tours, and Music in the Loire Valley, c.1465–1505, p. 169
Paula Higgins
https://doi.org/10.1484/M.EM-EB.3.2689
	
	
Dad and Granddad Were Cops: Josquin’s Ancestry, p. 183
Herbert Kellman
https://doi.org/10.1484/M.EM-EB.3.2690
	
	
‘It’s true that Josquin composes better …’: The Short Unhappy Life of Gian de Artiganova, p. 201
Lewis Lockwood
https://doi.org/10.1484/M.EM-EB.3.2691
	
	
The Contents of the Herdringen Scores, p. 217
David Fallows
https://doi.org/10.1484/M.EM-EB.3.2692
	
	
Sulle orme di Ulrich Schubinger ‘il giovane’: repertorio ‘vivo’ dal codice musicale Augsburg, Staats- und Stadtbibliothek, 2° 142a, p. 233
Gioia Filocamo
https://doi.org/10.1484/M.EM-EB.3.2693
	
	
Des Kaisers Alamire: Zur Entstehung des Chorbuchs Wien, Österreichische Nationalbibliothek, Mus. Hs. 15495, p. 247
Birgit Lodes
https://doi.org/10.1484/M.EM-EB.3.2694
	
	
Franciscus de Rivulo and the Manuscript Gdańsk, Biblioteka Gdańska Polskiej Akademii Nauk 4003, p. 259
Agnieszka Leszczyńska
https://doi.org/10.1484/M.EM-EB.3.2695
	
	
Polyphony for Corpus Christi in an Unknown Fragmentary Source from Mid-Fifteenth-Century Central Europe: An Interim Report, p. 271
Peter Wright
https://doi.org/10.1484/M.EM-EB.3.2696
	
	
A Postscript to Petrucci’s Motetti B: A Closer Look at the ‘Secret Manuscript’ in the Paris Copy, p. 283
Warren Drake
https://doi.org/10.1484/M.EM-EB.3.2697
	
	
«Galli cantant». Maestri di cappella francesi in uno sconosciuto manoscritto di metà Cinquecento, p. 295
Arnaldo Morelli
https://doi.org/10.1484/M.EM-EB.3.2698
	
	
A Scriptor, a Singer, and a Mother Superior: Another Story about MS DCCLXI of the Biblioteca Capitolare in Verona, p. 309
Joshua Rifkin
https://doi.org/10.1484/M.EM-EB.3.2699
	
	
Thoughts on Some of the Masses in Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 14 and its Concordant Sources (or, Things Bonnie Won’t Let Me Publish), p. 319
Richard Sherr
https://doi.org/10.1484/M.EM-EB.3.2700
	
	
Notes sur la copie des messes de Josquin des Prés dans un manuscrit italien de la fin du xvie siècle, p. 335
Alice Tacaille
https://doi.org/10.1484/M.EM-EB.3.2701
	
	
A New Look at Cantus Firmus Process in Crecquillon’s Missa Kain Adler in der Welt so schön, p. 351
Cathy Ann Elias
https://doi.org/10.1484/M.EM-EB.3.2702
	
	
A Fifteenth-Century Pellegrina and Standley’s ‘Harmony of the Spheres’ Mass, p. 359
Rebecca L. Gerber
https://doi.org/10.1484/M.EM-EB.3.2703
	
	
Patterns of Emulation and Influence in the Fors seulement Polyphonic Mass Tradition: New Insight Revealed through Music in Toledo, p. 369
Bernadette Nelson
https://doi.org/10.1484/M.EM-EB.3.2704
	
	
Benedictus dominus deus Israel: A Motet by Johannes Lupi and a Mass by Gheerkin de Hondt, p. 383
Véronique Roelvink
https://doi.org/10.1484/M.EM-EB.3.2705
	
	
Parody and Patriotism: A Sebastianist Reading of the Masses of Filipe de Magalhães, p. 391
Owen Rees
https://doi.org/10.1484/M.EM-EB.3.2706
	
	
Perfect Fifths and the Blessed Virgin’s Immaculate Conception: On Ficta in Josquin’s five-part Inviolata, p. 403
Willem Elders
https://doi.org/10.1484/M.EM-EB.3.2707
	
	
Busnoys, Burgundy, and the Song of Songs, p. 413
Sean Gallagher
https://doi.org/10.1484/M.EM-EB.3.2708
	
	
The Anonymous Motets of the Chigi Codex, p. 431
Edward F. Houghton
https://doi.org/10.1484/M.EM-EB.3.2709
	
	
How Many Keys Are There to a Lock? Contextualizing a 16th-Century Motet, p. 441
Christian Thomas Leitmeir
https://doi.org/10.1484/M.EM-EB.3.2710
	
	
Josquin and Champion: Conflicting Attributions for the Psalm Motet De profundis clamavi, p. 453
Patrick Macey
https://doi.org/10.1484/M.EM-EB.3.2711
	
	
Eine Trauermotette von Costanzo Festa auf Heinrich Isaac?, p. 469
Martin Staehelin
https://doi.org/10.1484/M.EM-EB.3.2712
	
	
Absalon fili mi, Josquin, and the French Royal Court: Attribution, Authenticity, Context, and Conjecture, p. 477
Jennifer Thomas
https://doi.org/10.1484/M.EM-EB.3.2713
	
	
‘Ainsi meurs vif’: The Paradox of Choice in Renaissance Song, p. 491
Richard Freedman
https://doi.org/10.1484/M.EM-EB.3.2714
	
	
‘La dolce vista del tuo viso pio’: Du Fay and the Italian Song Tradition, p. 501
James Haar
https://doi.org/10.1484/M.EM-EB.3.2715
	
	
The Unquiet Thoughts of Edmund Spenser’s Scudamour and John Dowland’s First Booke of Songes, p. 513
Elizabeth Eva Leach
https://doi.org/10.1484/M.EM-EB.3.2716
	
	
Josquin and the Act of Self-Quotation: The Case of Plusieurs regretz, p. 521
John Milsom
https://doi.org/10.1484/M.EM-EB.3.2717
	
	
‘Un baciar furioso, un dispogliarsi’: Costanzo Festa and Eroticism, p. 533
Massimo Privitera
https://doi.org/10.1484/M.EM-EB.3.2718
	
	
‘Transferring Tunes and Adjusting Lines’: Leonardo Giustinian and the Giustiniana in Quattrocento Florence, p. 547
Blake Wilson
https://doi.org/10.1484/M.EM-EB.3.2719
	
	
‘La prima donna del mondo’: Isabella d’Este’s Musical Impresa, its Conception, and an Interpretation, p. 569
Jaap van Benthem
https://doi.org/10.1484/M.EM-EB.3.2720
	
	
Ockeghem as ‘The Bach of his Day’, p. 577
Lawrence F. Bernstein
https://doi.org/10.1484/M.EM-EB.3.2721
	
	
Multivoiced Canons attributed to Josquin, p. 593
Eric Jas
https://doi.org/10.1484/M.EM-EB.3.2722
	
	
Zirkelkanon im Niemandsland: Ikonographie und Symbolik im Chansonnier Florenz, Biblioteca Nazionale Centrale, Banco Rari 229, p. 605
Klaus Pietschmann
https://doi.org/10.1484/M.EM-EB.3.2723
	
	
The ‘Virtue’ of Lorenzo Lotto: A Musical Intarsia in the Basilica of Santa Maria Maggiore in Bergamo, p. 617
William F. Prizer
https://doi.org/10.1484/M.EM-EB.3.2724
	
	
Through the Looking-Glass: Pietro Cerone’s Enigma del espejo, p. 627
Katelijne Schiltz
https://doi.org/10.1484/M.EM-EB.3.2725
	
	
The Italian Madrigal in Germany: A New Assessment of its Early Reception, p. 637
Mary S. Lewis
https://doi.org/10.1484/M.EM-EB.3.2726
	
	
A Cultural Theory of the Chansonnier, p. 649
Honey Meconi
https://doi.org/10.1484/M.EM-EB.3.2727
	
	
English Instrumental Music in the Fifteenth Century, p. 659
Keith Polk
https://doi.org/10.1484/M.EM-EB.3.2728
	
	
Made to Order: Choirbook Publications in Cinquecento Rome, p. 669
Jane A. Bernstein
https://doi.org/10.1484/M.EM-EB.3.2729
	
	
Musical Comedy at the Prince of Salerno’s Palace in Naples, p. 677
Donna G. Cardamone
https://doi.org/10.1484/M.EM-EB.3.2730
	
	
Music and Theatre in Leo X’s Rome, p. 683
Anthony M. Cummings
https://doi.org/10.1484/M.EM-EB.3.2731
	
	
«Napolitani … eccellentissimi musici, della composizione e del suono». Aspetti della vita musicale a Napoli nel Cinquecento, p. 695
Gianluca D’Agostino
https://doi.org/10.1484/M.EM-EB.3.2732
	
	
Grateful Friends, True Friends: Gifts of Music and Poetry Associated with Girolamo Fenaruolo, p. 709
Melanie L. Marshall
https://doi.org/10.1484/M.EM-EB.3.2733
	
	
Enea Silvio Piccolomini and Music, p. 719
Reinhard Strohm
https://doi.org/10.1484/M.EM-EB.3.2734
	
	
Le Lucidario in musica de Pietro Aaron, p. 729
Anne-Emmanuelle Ceulemans
https://doi.org/10.1484/M.EM-EB.3.2735
	
	
Josquin’s Teaching: Ignored and Lost Sources, p. 741
Jeffrey J. Dean
https://doi.org/10.1484/M.EM-EB.3.2736
	
	
The Erudition of Florentius de Faxolis and Blasius Romerus, p. 751
Leofranc Holford-Strevens
https://doi.org/10.1484/M.EM-EB.3.2737
	
	
Theory in Practice: Reminiscences of Gaffurius’ Music Theory in the Milanese Choirbooks, p. 761
Saskia C. M. M. Rolsma
https://doi.org/10.1484/M.EM-EB.3.2738
	
	
Tinctoris’s Magnum opus, p. 771
Rob C. Wegman
https://doi.org/10.1484/M.EM-EB.3.2739
	
	
Back matter (“Bonnie J. Blackburn Bibliography”, “Index of Musical MSS”, “Index of Musical Prints”, “Index of Compositions”, “Index of Names”), p. 783