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Studies in Renaissance Music in Honour of Ignace Bossuyt

Mark Delaere (Editor), Pieter Bergé (Editor),

Category: Music

Language: English

ISBN: 9789058676504

Publication date: March 15, 2008

€59.50 (including 6% VAT)

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Number of pages: 312

Size: 240 x 160 x 20 mm

Stock item: 51751

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Category: Music

Language: English

DOI: 10.11116/9789461660169

ISBN: 9789461660169

Publication date: March 20, 2013

€44.50 (including 6% VAT)

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Number of pages: 312


After a distinguished career of more than 35 years, Ignace Bossuyt retired as professor at the Musicology Department of the University of Leuven on October 1st 2007. As an internationally recognised leader in the field of later-16th-century music, Bossuyt consolidated the department’s reputation as a centre of excellence in renaissance music studies. Articles in this volume deal with music from the period on which the dedicatee focussed his own research. Subjects discussed include newly discovered music by Philippe de Monte and Heinrich Isaac, humour in the motets of Orlando di Lasso, the beginnings of music history, compositional procedures in renaissance music, and Tinctoris’s art of listening. A wide range of methodological perspectives is offered, including historiography, reception studies, source studies, music analysis, music theory, style studies, and aesthetics of music. The publication is both a Festschrift in which distinguished specialists honour an outstanding colleague, and a Liber Amicorum compiled for a dear friend.


‘Una cosa riuscita’: Ignace Bossuyt’s Academic Career

Mark Delaere & Pieter Bergé

List of Publications by Ignace Bossuyt

Humor in the Motets of Orlando di Lasso

Peter Bergquist

A new source, and new compositions, for Philippe de Monte

Stanley Boorman

Heinrich Isaac and his Recently Discovered Missa Presulem Ephebeatum

David J. Burn

Josquin in the Sources of Spain: An Evaluation of two Unique Attributions

Willem Elders

Old Testament Motets for the War of Cyprus (1570-71)

Ian Fenlon

Caron and Florence: A New Ascription and the Copying of the Pixérécourt Chansonnier

Sean Gallagher

The Officium of the Recollectio Festorum beate Marie Virginis by Gilles Carlier and Guillaume Du Fay:

Its Celebration and Reform in Leuven

Barbara Haggh

‘Excellent For the Hand’: Writing on John Bull’s Keyboard Music in England

John Irving

Josquin, Willaert and Douleur me bat

Eric Jas

Gardano’s Mottetti Del Frutto of 1538-39 and the Promotion of a New Style

Mary S. Lewis

La Prottola Antica e la Caccia. Indizi di un recupero formale e stilistico nelle prima metà del Cinquecento

Francesco Luisi

Die Entstehung der musikalischen Geschichte. Historisierung und ästhetische Praxis am Beispiel Josquins

Laurenz Lütteken

Notations modales au seizième siècle

Nicolas Meeùs

Notes from an Erasable Tablet

John Milsom

Self-Citation and Self-Promotion: Zarlino and the Miserere Tradition

Katelijne Schiltz

Beati Omnes, Qui timent Dominum à 5. Order: Von den Schwierigkeiten, Orlando di Lassos Motetten zu edieren

Bernhold Schmid

Über ,Nationalstile’ in der Motette des 16. Jahrhunderts

Thomas Schmidt-Beste

An Unknown Organ Manuscript with Mainly Magnificat-Settings by Lassus (1626)

Eugeen Schreurs

La musique et l’éducation des jeunes filles. D’après La montaigne des pucelles

Den Maeghden-Bergh de Magdaleine Valéry (Leyde, 1599)

Henri Vanhulst

Johannes Tinctoris and the Art of Listening

Rob C. Wegman

Index of Names

Mark Delaere

Mark Delaere is Professor and Head of Musicology at KU Leuven. His research covers mainly music from the 20th and 21st centuries, with a special focus on the interaction of analysis, history, theory and aesthetics of music.

Pieter Bergé

Pieter Bergé is hoogleraar Musicologie aan de KU Leuven en artistiek directeur van Festival 20.21 Leuven. Zijn boeken, zowel wetenschappelijke als populariserende, werden herhaaldelijk bekroond.

Pieter Bergé is Professor of Music Analysis, History and Theory (1750-1900) at the KU Leuven. His main research topics are Arnold Schoenberg, German opera during the Weimar Republic, Formenlehre, instrumental music from 1770-1830, and 'analysis-and-performance'-issues.

By this point, the collection has brought us through an extended selection of approaches found in early music studies past and present. Much as in the wide-ranging writings of Bossuyt himself, virtually every reader in the field will find at least some familiar point of contact. Under the book's placid surface- the traditional university press production with an attractive illuminated manuscript image on the dust jacket, the historical bent of the contents list, the plates of sources and scores-lie histories and analyses, but also innovative interpretations and inroads into methodological shifts. The contented early music aficionado will derive pleasure from a rich and colorful collection of writings; the self-reflective historiographer will find challenges.
Theodor Dumitrescu, Tijdschrift voor Muziektheorie/Dutch Journal of Music Theory 14/2 (2009)

The self-effacing title of this Festschrift belies the great wealth of scholarship to which it bears witness. It pays fitting tribute to a scholar whose work on sixteenth-century music - on Adrian Willaert, Alexander Utendal and Orlando di Lasso, through editorial, analytical and historical studies - has been prolific and far-reaching.
The variety of approaches taken in Bossuyt's own work are reflected in the diversity of offerings here.

Edward Wickham, St Catharine's College, Cambridge, FONTES AR TIS MUSICAE 57/2

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