From Ciconia to Sweelinck

Ballman, Christine; Clement, Albert; Jas, Eric

doi:10.1163/9789004484665

1994

DOI: 10.1163/9789004484665

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From Ciconia to Sweelinck

Christine Ballman¹,

Albert Clement²,

Eric Jas³

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Josquin and Milan

Fallows

1996

Plainsong and Medieval Music

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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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Josquin and Milan

Fallows

1996

Plainsong and Medieval Music

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Tropes for the Ordinary in a 16th-century chantbook from Toledo, Spain

Candelaria

2006

Early Music

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Deep Mourning in Cinquecento Venice: Gioseffo Zarlino's lectiones pro mortuis

Chemotti¹,

Schiltz²

2020

Journal of the American Musicological Society

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This article investigates three voci pari settings by Gioseffo Zarlino, the lectiones pro mortuis that appeared in the Motetta D. Cipriani de Rore et aliorum auctorum (Venice: Girolamo Scotto, 1563). Although this collection contains motets, we argue that Zarlino's lectiones were intended as liturgical items for an Office for the Dead, celebrated as part of exequial rites. As such, they represent the first printed liturgical settings for the Office for the Dead in the Italian-speaking area. By analyzing liturgical sources as well as chronicles, we show that there was no tradition of setting the lessons pro mortuis in Italy, and that Zarlino's lectiones must have been a somewhat isolated musical experiment. We contextualize the settings within Zarlino's oeuvre, while also highlighting their relation to the contemporary repertoire of polyphonic lessons for penitential liturgies, most importantly lamentations—a genre that was published widely in the 1560s. In an attempt to reconstruct the social and institutional networks that might constitute the background to Zarlino's lectiones, we urge considering their author not only as a theorist and composer, but also as a polymath, a priest, and, ultimately, a devout Christian.

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From Ciconia to Sweelinck

Cited by 4 publications

References 0 publications

Josquin and Milan

Josquin and Milan

Tropes for the Ordinary in a 16th-century chantbook from Toledo, Spain

Deep Mourning in Cinquecento Venice: Gioseffo Zarlino's lectiones pro mortuis

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