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A timely addition to Routledge's Criticism and Analysis of Early Music series, this collection of essays examines the common compositional practice of borrowing or imitation in fifteenth-and sixteenth-century music, addressing how and why borrowing was used, the significance of borrowing, the techniques of borrowing, and its recognizable features. The book provides a broad overview of this common practice and sheds light on previously unexplored aspects of early musical borrowing. It functions as both an introduction to the subject as well as a guide for further research. The contributors, all highly regarded in their field, offer new insights that will change the way we view borrowing.
List of contents
Series Editor's Foreword Acknowledgments List of Abbreviations Introduction: Borrowing and Early Music Honey Meconi 1. A Cultural Context for the Chanson Mass M. Jennifer Bloxam 2. Ockeghem and Intertextuality: A Composer Interprets Himself Murray Steib 3. The Illusion of Allusion Jenny Hodgson 4. Interpreting and Dating Josquin's Missa Hercules dux ferrariae Christopher Reynolds 5. Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming Honey Meconi 6. Aspects of Musical Borrowing in the Polyphonic Missa de feria of the Fifteenth and Sixteenth Centuries Andrew H. Weaver 7. Mid-Sixteenth-Century Chanson Masses: A Kaleidoscopic Process Cathy Ann Elias 8. Melodic Citation in the Sixteenth-Century Motet Michele Fromson Bibliography Contributors Index
About the author
Honey Meconi is Associate Professor of Music at Rice University. She resides in Houston.
Summary
A timely addition to Routledge's Criticism and Analysis of Early Music series, this collection of essays examines the common compositional practice of borrowing or imitation in fifteenth-and sixteenth-century music, addressing how and why borrowing was used, the significance of borrowing, the techniques of borrowing, and its recognizable features. The book provides a broad overview of this common practice and sheds light on previously unexplored aspects of early musical borrowing. It functions as both an introduction to the subject as well as a guide for further research. The contributors, all highly regarded in their field, offer new insights that will change the way we view borrowing.
