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Chapter 1: Music and the Cultures of the Renaissance

*Atlas, Allan. Renaissance Music: Music in Western Europe, 1400-1600. New York: Norton, 1998. http://www.worldcat.org/oclc/36824886

Bouwsma, William J. The Culture of Renaissance Humanism. Washington: American Historical Association, 1973. http://www.worldcat.org/oclc/677657

*Campbell, Gordon. The Oxford Dictionary of the Renaissance. Oxford: Oxford University Press, 2003. http://www.worldcat.org/oclc/51009458

*Haar, James. European Music, 1520-1640. Rochester, NY: Boydell Press, 2006. http://www.worldcat.org/oclc/64097887

Kristeller, Paul Oskar. ''Music and Learning in the Early Italian Renaissance.'' Journal of Renaissance and Baroque Music 1 (1947), 255-74. http://www.jstor.org/stable/20528744

Kristeller, Paul Oskar. Renaissance Thought and the Arts: Collected Essays, rev. ed. Princeton: Princeton University Press, 1990. http://www.worldcat.org/oclc/20935206

*Lowinsky, Edward E. ''Music in the Culture of the Renaissance,'' Journal of the History of Ideas 15 (1954), 509-53. http://www.jstor.org/stable/2707674 Repr. Music in the Culture of the Renaissance and Other Essays I, 2 vols., Bonnie Blackburn, ed. 19-39 Chicago: University of Chicago Press, 1989. http://www.worldcat.org/oclc/17677120

Marino, Joseph. ''A Renaissance in the Vernacular: Baldassar Castiglione's Coining of the Aulic.'' In Perspectives on Early Modern and Modern Intellectual History, Joseph Marino and Melinda Schlitt, eds., 145-63. Rochester: University of Rochester Press, 2000. http://www.worldcat.org/oclc/45766625

*Owens, Jessie Ann. ''Music Historiography and the Definition of 'Renaissance.''' Notes 47 (1990), 305-30. http://www.jstor.org/stable/941953

*Page, Christopher. ''Introduction.'' In Discarding Images. Reflections on Music and Culture in Medieval France, xv-xxiv. Oxford: Oxford University Press, 1993. http://www.worldcat.org/oclc/28064964

Palisca, Claude V. Humanism in Italian Renaissance Musical Thought. New Haven: Yale University Press, 1985. http://www.worldcat.org/oclc/11970931

*Perkins, Leeman. Music in the Age of the Renaissance. New York: Norton, 1999. http://www.worldcat.org/oclc/39335162

Rabil, Albert. Renaissance Humanism: Foundations, Forms, and Legacy, 3 vols. Philadelphia: University of Pennsylvania Press, 1988. "http://www.worldcat.org/oclc/16227152"http://www.worldcat.org/oclc/16227152

Chapter 2: Learning to be a Musician

Bent, Margaret. “‘Resfacta’ and ‘Cantare Super Librum.’” Journal of the American Musicological Society 36 (1983), 371–91. http://www.jstor.org/stable/831232

*Blackburn, Bonnie J. “On Compositional Process in the Fifteenth Century.” Journal of the American Musicological Society 40 (1987), 210–84. http://www.jstor.org/stable/831517

Brown, Howard Mayer. “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance.” Journal of the American Musicological Society 35 (1982), 1–48. http://www.jstor.org/stable/831286

*Forney, Kristine. “‘Nymphes gayes en abry du Laurier’: Music Instruction for the Bourgeois Woman.” Musica Disciplina 49 (1995), 151–87. http://www.jstor.org/stable/20532395

Mead, Sarah. “Renaissance Theory.” In A Performer's Guide to Renaissance Music, 2nd ed., Jeffrey Kite-Powell, ed., 342–73. Bloomington: Indiana University Press, 2007. http://www.worldcat.org/oclc/276762615

Mengozzi, Stefano. The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History. Cambridge and New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/465366337

*Murray, Russell W., Susan Forscher Weiss, and Cynthia Cyrus, eds. Music Education in the Middle Ages and the Renaissance. Bloomington: Indiana University Press, 2010. http://www.worldcat.org/oclc/657643811

Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition, 1450–1600. Oxford: Oxford University Press, 1997. http://www.worldcat.org/oclc/33047219

Perkins, Leeman. “The Conceptualization of Music in the Renaissance.” In Music in the Age of the Renaissance, 969–1057. New York: Norton, 1999. http://www.worldcat.org/oclc/39335162

*Schubert, Peter N. “Counterpoint Pedagogy in the Renaissance.” In The Cambridge History of Western Music Theory, 503–33. Cambridge: Cambridge University Press, 2002. http://www.worldcat.org/oclc/45166705

*Sternfeld, Frederick W. “Music in the Schools of the Reformation.” Musica Disciplina 2 (1948), 99–122.

*Wegman, Rob C. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500.” Journal of the American Musicological Society 49 (1996), 409–79. http://www.jstor.org/stable/831769

Wright, Craig M. Music and Ceremony at Notre Dame of Paris, 500–1550. Cambridge Studies in Music. New York: Cambridge University Press, 1989. http://www.worldcat.org/oclc/246807595

Chapter 3: Music at Court and a Songbook for Beatrice

*Alden, Jane. Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. New York: Oxford University Press, 2010. http://www.worldcat.org/oclc/423734246

*Atlas, Allan W. “Alexander Agricola and Ferrante I of Naples.” Journal of the American Musicological Society 30 (1977), 313–19. http://www.jstor.org/stable/831222

Boone, Graeme M. Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Du Fay. American Musicological Society Monographs. Lincoln: University of Nebraska Press, 1999. http://www.worldcat.org/oclc/38536082

Brown, Howard Mayer. "A Cook's Tour of Ferrara in 1529." Rivista italiana di musicologia 10 (1975), 216–41.

Cohen, Judith, and Biblioteca nazionale (Naples, Italy). The six anonymous L'Homme armé masses in MS VI E 40 of the Biblioteca Nazionale, Naples. Rome: American Institute of Musicology, 1968. http://www.worldcat.org/oclc/28592865

*Fallows, David. Du Fay. London: Dent, 1982. http://www.worldcat.org/oclc/252317013

*Higgins, Paula. “Parisian Nobles, a Scottish Princess, and the Woman's Voice in Late Medieval Song.” Early Music History 10 (1991), 145–200. http://www.jstor.org/stable/942453

Lockwood, Lewis. “Pietrobono and the Improvisatory Tradition.” In Music in Renaissance Ferrara, 1400–1505. The Creation of a Musical Center in the Fifteenth Century. Cambridge, MA: Harvard University Press, 1984. http://www.worldcat.org/oclc/10558327

Page, Christopher. “Reading and Reminiscence: Tinctoris on the Beauty of Music.” Journal of the American Musicological Society 49 (1996), 1–31. http://www.jstor.org/stable/831952

Page, Christopher. “Going beyond the Limits: Experiments with Vocalization in the French Chanson, 1340–1440.” Early Music 20 (1992), 447–59. http://www.jstor.org/stable/3127706

Perkins, Leeman L. and Howard Garey. The Mellon Chansonnier, 2 vols. New Haven: Yale University Press, 1979. http://www.worldcat.org/oclc/16442434

Pirrotta, Nino. “Music and Cultural Tendencies in 15th-Century Italy.” Journal of the American Musicological Society 19 (1966), 127–61. http://www.jstor.org/stable/830579

*Planchart, Alejandro Enrique. “Guillaume Du Fay's Benefices and His Relationship to the Court of Burgundy.” Early Music History 8 (1988), 117–71. http://www.jstor.org/stable/853839

*Prizer, William F. “Music at the Court of the Sforza: The Birth and Death of a Musical Center.” Musica Disciplina 43 (1989), 141–93. http://www.jstor.org/stable/20532332

*Reynolds, Christopher. “Musical Careers, Ecclesiastical Benefices, and the Example of Johannes Brunet.” Journal of the American Musicological Society 37 (1984), 49–97. http://www.jstor.org/stable/831159

Vendrix, Philippe. Johannes Ockeghem: Actes Du Xle Colloque International D'âetudes Humanistes: Tours, 3–8 Février 1997. [Paris?]: Klincksieck, 1998. http://www.worldcat.org/oclc/123284611

*Wegman, Rob C. “Johannes Tinctoris and the ‘New Art.’” Music and Letters 84 (2003), 171–88. http://www.jstor.org/stable/3526190

Woodley, Ronald. “Tinctoris's Italian Translation of the Golden Fleece Statutes: A Text and a (Possible) Context.” Early Music History 8 (1988), 173–244. http://www.jstor.org/stable/853840

Wright, Craig M. Music at the Court of Burgundy, 1364–1419: A Documentary History. Henryville, [PA.]: Institute of Medieval Music, 1979. http://www.worldcat.org/oclc/5921806

Chapter 4: Piety, Devotion, and Ceremony

Bent, Margaret. Dunstaple. London and New York: Oxford University Press, 1981. http://www.worldcat.org/oclc/6015886

*Blackburn, Bonnie J. “For Whom Do the Singers Sing?” Early Music 25 (1997), 593–609. http://www.jstor.org/stable/3128408

*Bloxam, M. Jennifer. “A Cultural Context for the Chanson Mass.” In Early Musical Borrowing, Honey Meconi, ed., 7–36. New York: Routledge, 2004. http://www.worldcat.org/oclc/52086242

Borgerding, Todd M. “Imagining the Sacred Body: Choirboys, Their Voices, and Corpus Christi in Early Modern Seville.” In Musical Childhoods and the Cultures of Youth, Susan Boynton and Roe-Min Kok, eds., 25–48. Middletown, CT: Wesleyan University Press, 2006. http://www.worldcat.org/oclc/62161331

*Brown, Howard Mayer. “The Mirror of Man's Salvation: Music in Devotional Life about 1500.” Renaissance Quarterly 43 (1990), 744–73. http://www.jstor.org/stable/2862788

Burstyn, Shai. “Early 15th-Century Polyphonic Settings of Song of Songs Antiphons.” Acta musicologica XLIX (1977), 200–27. http://www.jstor.org/stable/932590

Cumming, Julie. The Motet in the Age of Du Fay. New York: Cambridge University Press, 1999. http://www.worldcat.org/oclc/39856131

Curtis, Liane. “Simon Mellet, Scribe of Cambrai Cathedral.” Plainsong and Medieval Music 82 (1999), 133–66.

D'Accone, Frank A. The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago: University of Chicago Press, 1997. http://www.worldcat.org/oclc/45885601

Fallows, David. Du Fay. London: Dent 1982. http://www.worldcat.org/oclc/252317013

*Haggh, Barbara. “The Celebration of the Recollectio Festorum Beatae Mariae Virginis, 1457–1987.” Studia Musicologica Academiae Scientiarum Hungaricae 30 (1988), 361–73.

Kisby, Fiona. Music and Musicians in Renaissance Cities and Towns. Cambridge and New York: Cambridge University Press, 2001. http://www.worldcat.org/oclc/44750788

*Kreitner, Kenneth. “Music in the Corpus Christi Procession of Fifteenth-Century Barcelona.” Early Music History 14 (1995), 153–204. http://www.worldcat.org/oclc/39856131

Maurey, Yossi. “Heresy, Devotion and Memory: The Meaning of Corpus Christi in Saint-Martin of Tours,” Acta Musicologica 79 (2006), 159–96. http://www.jstor.org/stable/25071274

Rastall, Richard. Music in Early English Religious Drama, 2 vols. Cambridge [England] and Rochester, NY: D.S. Brewer, 1996. http://www.worldcat.org/oclc/33047709

Tacconi, Marica. Cathedral and Civic Ritual in Late Medieval and Renaissance Florence: The Service Books of Santa Maria Del Fiore. Cambridge and New York: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57731129

Wegman, Rob C. “Miserere supplicanti Du Fay: The Creation and Transmission of Guillaume Du Fay's Missa Ave regina celorum.” The Journal of Musicology 13 (1995), 18–54. http://www.jstor.org/stable/764050

Wegman, Rob C. “Music and Musicians at the Guild of Our Lady in Bergen op Zoom.” Early Music History 9 (1990), 175–249. http://www.jstor.org/stable/942443

Wilson, Blake. Music and Merchants: The Laudesi Companies of Republican Florence. Oxford and New York: Clarendon Press, 1992. http://www.worldcat.org/oclc/26583263

*Wright, Craig. “Du Fay's ‘Nuper Rosarum Flores,’ King Solomon's Temple, and the Veneration of the Virgin.” Journal of the American Musicological Society 47 (1994), 395–441. http://www.jstor.org/stable/3128798

*Wright, Craig. “Dufay at Cambrai: Discoveries and Revisions.” Journal of the American Musicological Society 28 (1975), 175–229. http://www.jstor.org/stable/830766

Chapter 5: Structures and Symbols in Cantus Firmus and Canon

*Bloxam, M. Jennifer. “A Cultural Context for the Chanson Mass.” In Early Musical Borrowing, Honey Meconi, ed., 7–36. New York: Routledge, 2004. http://www.worldcat.org/oclc/52086242

Burn, David J. “‘Nam erit haec quoque laus eorum’: Imitation, Competition and the ‘L'homme armé’ Tradition.” Revue de Musicologie 87 (2001), 249–87. http://www.jstor.org/stable/947107

Elders, Willem. “Symbolism in the Sacred Music of Josquin.” In The Josquin Companion, Richard Sherr, ed., 531–68. Oxford: Oxford University Press, 2000. http://www.worldcat.org/oclc/44493382

Fallows, David. “‘Prenez Sur Moy’: Ockeghem's Tonal Pun.” Plainsong and Medieval Music 1 (1992), 63–75.

Haar, James. “Palestrina as Historicist: The Two ‘L'homme armé’ Masses.” Journal of the Royal Musical Association 121 (1996), 191–205. http://www.jstor.org/stable/766326

*Haggh, Barbara. “The Archives of the Order of the Golden Fleece and Music.” Journal of the Royal Musical Association 120 (1995), 1–43. http://www.jstor.org/stable/766450

*Kirkman, Andrew. The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. Cambridge and New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/456170299

*Kirkman, Andrew. “The Invention of the Cyclic Mass.” Journal of the American Musicological Society 54 (2001), 1–47. http://www.jstor.org/stable/831854

*Lockwood, Lewis. “Aspects of the L'homme Armé Tradition.” Proceedings of the Royal Musical Association 100 (1973–74), 97–122. http://www.jstor.org/stable/766178

*Long, Michael P. “Symbol and Ritual in Josquin's Missa Di Dadi.” Journal of the American Musicological Society 42 (1989), 1–22. http://www.jstor.org/stable/831416

Perkins, Leeman L. "Ockeghem's ‘Prenez Sur Moi’: Reflections on Canons, Catholica, and Solmization." Musica Disciplina: A Yearbook of the History of Music 44 (1990), 119–83. http://www.jstor.org/stable/20532340

Planchart, Alejandro Enrique. “The Origins and Early History of ‘L'homme armé.’” The Journal of Musicology 20 (2003), 305–57. http://www.jstor.org/stable/1555222

*Prizer, William F. “Brussels and the Ceremonies of the Order of the Golden Fleece.” Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 55 (2001), 69–90. http://www.jstor.org/stable/3686829

*Prizer, William F. “Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece.” Early Music History 5 (1985), 113–53. http://www.jstor.org/stable/766450

*Robertson, Anne Walters. “The Man with the Pale Face, the Shroud, and Du Fay's Missa Se la face ay pale.” The Journal of Musicology 27 (2010), 377–434. http://www.jstor.org/stable/10.1525/jm.2010.27.4.377

Robertson, Anne Walters. “The Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motet.” Journal of the American Musicological Society 59 (2006), 537–630. http://www.jstor.org/stable/4138533

Taruskin, Richard. “Antoine Busnoys and the ‘L'Homme armé’ Tradition.” Journal of the American Musicological Society 39 (1986), 255–93. http://www.jstor.org/stable/831531

*Trachtenberg, Marvin. “Architecture and Music Reunited: A New Reading of Du Fay's ‘Nuper Rosarum Flores’ and the Cathedral of Florence.” Renaissance Quarterly 54 (2001), 741–75. http://www.jstor.org/stable/1261923

*Wright, Craig. “Du Fay's ‘Nuper Rosarum Flores,’ King Solomon's Temple, and the Veneration of the Virgin.” Journal of the American Musicological Society 47 (1994), 395–441. http://www.jstor.org/stable/3128798

Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge, MA: Harvard University Press, 2001. http://www.worldcat.org/oclc/45499547

Chapter 6: Number, Medicine, and Magic

*Austern, Linda Phyllis. "Musical Treatments for Lovesickness: The Early Modern Heritage." In Music as Medicine. The History of Music Therapy since Antiquity, 213–48, ed, Peregrine Horden. Aldershot: Ashgate, 2000. http://www.worldcat.org/oclc/42834746

Baumann, Dorothea and Barbara Haggh. “Musical Acoustics in the Middle Ages.” Early Music 18 (1990), 199–210. http://www.jstor.org/stable/3127808

*Blackburn, Bonnie J. “Leonardo and Gaffurio on Harmony and the Pulse of Music.” In Essays on Music and Culture in Honor of Herbert Kellman, Barbara Haggh, ed., CESR Collection Epitome Musicale, 12–49. Paris-Tours: Minerva, 2001. http://www.worldcat.org/oclc/48447666

*Brooks, Jeanice. Courtly Song in Late Sixteenth-Century France. Chicago: University of Chicago Press, 2000. http://www.worldcat.org/oclc/43790531

Celenza, Christopher S. “Pythagoras in the Renaissance: The Case of Marsilio Ficino.” Renaissance Quarterly 52 (1999), 667–711. http://www.jstor.org/stable/2901915

*Cohen, David. E. “‘The Imperfect Seeks Its Perfection’: Harmonic Progression, Directed Motion, and Aristotelian Physics.” Music Theory Spectrum 23 (2001), 139–69. http://www.jstor.org/stable/10.1525/mts.2001.23.2.139

D'Accone, Frank. “Lorenzo the Magnificent and Music.” In Lorenzo il Magnifico e il suo mondo: convegno internazionale di studi (Firenze, 9–13 giugno 1992), Gian Garfagnini, ed., 259–90. Florence: Leo S. Olschki, 1994. http://www.worldcat.org/oclc/31474916

*Drake, Stillman. “Renaissance Music and Experimental Science.” Journal of the History of Ideas 31 (1970), 483–500. http://www.jstor.org/stable/2708256

*Haar, James. “The Frontispiece of Gafori's Practica Musicae (1496).” Renaissance Quarterly 27 (1974), 7–22. http://www.jstor.org/stable/2859295

Judd, Cristle Collins. Reading Renaissance Music Theory: Hearing with the Eyes. New York and Cambridge: Cambridge University Press, 2000. http://www.worldcat.org/oclc/491985983

Klibansky, Raymond, Erwin Panovsky, and Fritz Saxl. Saturn and Melancholy. Studies in the History of Natural Philosophy, Religion, and Art. London: Nelson, 1964. http://www.worldcat.org/oclc/2570480

Macy, Laura. “Speaking of Sex: Metaphor and Performance in the Italian Madrigal.” Journal of Musicology 14 (1996), 1–34. http://www.jstor.org/stable/763955

Pesaro, Guglielmo Ebreo de. De Pratica Seu Arte Tripudii. On the Practice or Art of Dancing, Barbara Sparti and Michael Sullivan, trans. Oxford: Clarendon Press, 1993. http://www.worldcat.org/oclc/26501970

Peter Pesic, “Hearing the Irrational: Music and the Development of the Modern Concept of Number.” Isis 101 (2010), 501–30. http://www.jstor.org/stable/10.1086/655790

Schiersari, Juliana. The Gendering of Melancholia. Feminism, Psychoanalysis, and the Symbolics of Loss in Renaissance Literature. Ithaca: Cornell University Press, 1992. http://www.worldcat.org/oclc/24669247

Tinctoris, Johannes and Albert Seay. “The ‘Proportionale Musices’ of Johannes Tinctoris.” Journal of Music Theory 1 (1957), 22–75. http://www.jstor.org/stable/843090

*Tomlinson, Gary. Music in Renaissance Magic: Toward a Historiography of Others. Chicago: University of Chicago Press, 1993. http://www.worldcat.org/oclc/25915469

*Van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005. http://www.worldcat.org/oclc/56481445

Wegman, Rob C. “‘And Josquin Laughed . . . ’ Josquin and the Composer's Anecdote in the Sixteenth Century.” Journal of Musicology 17 (1999), 319–57. http://www.jstor.org/stable/764097

*Wienpahl, Robert W. “Zarlino, the Senario, and Tonality.Journal of the American Musicological Society 12 (Spring 1959), 27–41. http://www.jstor.org/stable/829515

Chapter 7: Music and the Ideal Courtier

*Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano, Penn State Series in the History of the Book. University Park: Pennsylvania State University Press, 1996.

Castiglione, Baldassarre. The Book of the Courtier: The Singleton Translation, an Authoritative Text Criticism, Daniel Javitch, ed. New York: Norton, 2002. http://www.worldcat.org/oclc/48931733

Eichberger, Dagmar and Yvonne Bleyerveld. Women of Distinction: Margaret of York, Margaret of Austria. Davidsfonds: Brepols, 2005.

*Feldman, Martha and Bonnie Gordon, eds. The Courtesan's Arts: Cross-Cultural Perspectives. New York: Oxford University Press, 2006. http://www.worldcat.org/oclc/58720701

*Haar, James. “The Courtier as Musician: Castiglione's View of the Science and Art of Music.” In Castiglione: The Ideal and the Real in Renaissance Culture, Robert Hanning and David Rosand, eds., 165–90. New Haven: Yale University Press, 1983.

Jones, Sterling Scott. The Lira Da Braccio, Publications of the Early Music Institute. Bloomington: Indiana University Press, 1995.

*Kelly, Joan. “Did Women Have a Renaissance?” In Women, History & Theory: The Essays of Joan Kelly, 19–50. Chicago: University of Chicago Press, 1984. http://www.worldcat.org/oclc/10723739

*Marino, Joseph. “A Renaissance in the Vernacular: Baldassar Castiglione's Coining of the Aulic.” In Perspectives on Early Modern and Modern Intellectual History, Joseph Marino and Melinda Schlitt, eds., 145–63. Rochester: University of Rochester Press, 2000. http://www.worldcat.org/oclc/45766625

*Newcomb, Anthony. “Courtesans, Muses or Musicians? Professional Women Musicians in Sixteenth-Century Italy.” In Women Making Music: the Western Art Tradition, 1150–1950, Jane Bowers and Judith Tick, eds., 90–115. Champaign, IL: University of Illinois Press, 1986. http://www.worldcat.org/oclc/12104131

Newcomb, Anthony. The Madrigal at Ferrara, 1579–1597, 2 vols. Princeton: Princeton University Press, 1980.

Prizer, William F. Courtly Pastimes. The Frottole of Marchetto Cara. Ann Arbor, MI, 1980.

Prizer, William F. “The Frottola and the Unwritten Tradition.” Studi Musicali 15 (1986), 8–19.

*Prizer, William F. “Isabella d'Este and Lucrezia Borgia as Patrons of Music: The Frottola at Mantua and Ferrara.” Journal of the American Musicological Society 38 (1985), 1–33. http://www.jstor.org/stable/831548

*Prizer, William F. “Una ‘Virtù Molto Conveniente A Madonne’: Isabella D'este as a Musician.” The Journal of Musicology 17 (1999), 10–49. http://www.jstor.org/stable/764010

*Wistreich, Richard. Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Aldershot and Burlington: Ashgate, 2007. http://www.worldcat.org/oclc/76851954

Zecher, Carla. “The Gendering of the Lute in Sixteenth-Century French Love Poetry.” Renaissance Quarterly 53, (2000), 769–91. http://www.jstor.org/stable/2901497

Chapter 8: Josquin des Prez and the "Perfect Art"

Benthem, Jaap van. “Lazarus versus Absalon. About Fiction and Fact in the Netherlands Motet. For Willem Elders.” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 39 (1989), 54–82. http://www.jstor.org/stable/938705

Davison, Nigel. “Absalom Fili Mi Reconsidered.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 46 (1996), 42–56. http://www.jstor.org/stable/939131

*Fallows, David. Josquin. Turnhout: Brepols, 2009. http://www.worldcat.org/oclc/276221915

Fallows, David. “Who Composed ‘Mille Regretz’?” In Essays on Music and Culture in Honor of Herbert Kellman, Barbara H. Haggh, ed., 241–52. Collection “Epitome Musical.” Paris: Minerve, 2001. http://www.worldcat.org/oclc/48447666

*Higgins, Paula. “The Apotheosis of Josquin Des Prez and Other Mythologies of Musical Genius.” Journal of the American Musicological Society 57 (2004), 443–510. http://www.jstor.org/stable/10.1525/jams.2004.57.3.443

Lockwood, Lewis. Music in Renaissance Ferrara, 1400–1505: The Creation of a Musical Center in the Fifteenth Century. Cambridge, MA: Harvard University Press, 1984. http://www.worldcat.org/oclc/10558327

*Lowinsky, Edward E. “Musical Genius—Evolution and Origins of a Concept.” Musical Quarterly 50 (1964), 321–40 and 476–95. http://www.jstor.org/stable/740957 and http://www.jstor.org/stable/741019

*Macey, Patrick. “Galeazzo Maria Sforza and Musical Patronage in Milan: Compère, Weerbeke, and Josquin.” Early Music History 15 (1996), 147–212. http://www.jstor.org/stable/853911

Matthews, Lora and Paul Merkley. “Iudochus De Picardia and Jossequin Lebloitte Dit Desprez: The Names of the Singer(s).” Journal of Musicology 16 (1998), 200–26. http://www.jstor.org/stable/763971

*Meconi, Honey. “Another Look at Absalon.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48 (1998), 3–29. http://www.jstor.org/stable/939154

*Owens, Jessie Ann. “How Josquin Became Josquin: Reflections on Historiography and Reception.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, Jessie Ann Owens and Anthony Cummings, eds., 271–80. Warren, MI: Harmonie Park Press, 1997. http://www.worldcat.org/oclc/35593888

Rifkin, Joshua. “Munich, Milan, and a Marian Motet: Dating Josquin's ‘Ave Maria . . . virgo serena’” Journal of the American Musicological Society 56 (2003), 239–350. http://www.jstor.org/stable/10.1525/jams.2003.56.2.239

Rodin, Jesse. “ ‘When in Rome . . . ’: What Josquin Learned in the Sistine Chapel.” Journal of the American Musicological Society 61 (2008), 307–72. http://www.jstor.org/stable/10.1525/jams.2008.61.2.307

Schlagel, Stephanie P. “The Liber Selectarum Cantionum and the ‘German Josquin Renaissance.’” Journal of Musicology 19 (2002), 564–615. http://www.jstor.org/stable/10.1525/jm.2002.19.4.564

*Sherr, Richard. The Josquin Companion. New York and Oxford: Oxford University Press, 2000. http://www.worldcat.org/oclc/44493382

Starr, Pamela. “Josquin, Rome, and a Case of Mistaken Identity.” Journal of Musicology 15 (1997), 43–65. http://www.jstor.org/stable/763903

Van Orden, Kate. “Imitation and ‘La Musique Des Anciens’: Le Roy Et Ballard's 1572 Mellange De Chansons.” Revue de musicologie 80 (1994), 5–37. http://www.jstor.org/stable/947301

*Wegman, Rob C. “ ‘And Josquin Laughed . . . ’ Josquin and the Composer's Anecdote in the Sixteenth Century" Journal of Musicology 17 (1999), 319–57. http://www.jstor.org/stable/764097

Wegman, Rob C. “Who Was Josquin?” in The Josquin Companion, Richard Sherr, ed., 21–50. Oxford: Oxford University Press, 2000. http://www.worldcat.org/oclc/44493382

*Wilson, Blake. “Heinrich Isaac among the Florentines.” The Journal of Musicology 23 (2006), 97–152. http://www.jstor.org/stable/10.1525/jm.2006.23.1.97

Chapter 9: Scribes, Printers, and Owners

*Alden, Jane. Songs, Scribes, and Society: The History and Reception of the Loire Valley Chansonniers. New York: Oxford University Press, 2010. http://www.worldcat.org/oclc/423734246

*Bernstein, Jane A. “Financial Arrangements and the Role of Printer and Composer in Sixteenth-Century Italian Music Printing.” Acta Musicologica 63 (1991), 39–56. http://wwww.jstor.org/stable/932886

*Bernstein, Jane A. “Publish or Perish? Palestrina and Print Culture in 16th-Century Italy.” Early Music 35 (2007), 225–35. http://wwww.jstor.org/stable/30138020

*Brooks, Jeanice. “Jean de Castro, the Pense Partbooks and Musical Culture in Sixteenth-Century Lyons.” Early Music History 11 (1992), 91–149. http://www.jstor.org/stable/853814

*Carter, Tim. “Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero Di Giuliano Morosi.” Music and Letters 70 (1989), 483–504. http://wwww.jstor.org/stable/735980

Curtis, Liane. “Simon Mellet, Scribe of Cambrai Cathedral.” Plainsong and Medieval Music 8 (1999), 133–66.

Freedman, Richard. “Who Owned Lasso’s Chansons?” Yearbook of the Alamire Foundation 6 (2008), 159–76. http://alamirefoundation.org/sites/alamirefoundation.org/files/AF_Yearbook_6_2.pdf

*Haar, James.“Orlando di Lasso: Composer and Print Entrepreneur.” In Music and the Cultures of Print, Kate Van Orden, ed., 125–62. New York: General Music Publishing Co., 2000. http://www.worldcat.org/oclc/42649814"

Kellman, Herbert. The Treasury of Petrus Alamire. Music and Art in Flemish Court Manuscripts, 1500–1535. Ludion, Ghent, Amsterdam: University of Chicago Press, 1999. http://www.worldcat.org/oclc/43407231

Lewis-Hammond, Susan. Editing Music in Early Modern Germany. Aldershot: Ashgate, 2007. http://www.worldcat.org/oclc/79002356

*Meconi, Honey. “Margaret of Austria, Visual Representation, and Brussels, Royal Library, Ms. 228.” Journal of the Alamire Foundation 2 (2010), 11–36.

Perkins, Leeman L. “Modern Methods, Received Opinion and the Chansonnier.” Music and Letters 69 (1988), 356–64. http://www.jstor.org/stable/854743

Perkins, Leeman L. and Howard Garey. The Mellon Chansonnier, 2 vols. New Haven: Yale University Press, 1979. http://www.worldcat.org/oclc/16442434

Polk, Keith. Tielman Susato and the Music of His Time: Print Culture, Compositional Technique and Instrumental Music in the Renaissance, Bucina, 5. Hillsdale, NY: Pendragon Press, 2005. http://www.worldcat.org/oclc/57452433

Richardson, Brian. Manuscript Culture in Renaissance Italy. Cambridge and New York: Cambridge University Press, 2009. http://www.worldcat.org/oclc/430344509

Rifkin, Joshua. “Jean Michel, Maistre Jhan and a Chorus of Beasts. Old Light on Some Ferrarese Music Manuscripts.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 52 (2002), 67–102. http://www.jstor.org/stable939166

*Shephard, Tim. “Constructing Identities in a Music Manuscript: The Medici Codex as a Gift.” Renaissance Quarterly 63 (2010), 84–127. http://wwww.jstor.org/stable/10.1086/652534

Chapter 10: Music and the literary Imagination

*Bizzarini, Marco. “Marenzio and Cardinal Luigi D'este.” Early Music 27 (1999), 519–32. http://wwww.jstor.org/stable/3128756

*Brooks, Jeanice. “Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson.” Early Music History 13 (1994), 65–84. http://www.jstor.org/stable/853775

Brooks, Jeanice. Courtly Song in Late Sixteenth-Century France. Chicago: University of Chicago Press, 2000. http://www.worldcat.org/oclc/43790531

Feldman, Martha. "The Academy of Domenico Venier, Music’s Literary Muse in Mid-Cinquecento Venice.” Renaissance Quarterly 44 (1991), 476–512. http://www.jstor.org/stable/2862594

Feldman, Martha. City Culture and the Madrigal at Venice. Berkeley: University of California Press, 1995. http://www.worldcat.org/oclc/31045041

*Fromson, Michele. “Themes of Exile in Willaert's ‘Musica nova.’” Journal of the American Musicological Society 47 (1994), 442–87. http://wwww.jstor.org/stable/3128799

Gerbino, Giuseppe. “Florentine Petrarchismo and the Early Madrigal: Reflections on the Theory of Origins.” Journal of Medieval and Early Modern Studies 35 (2005), 607–28.

Gerbino, Giuseppe. “The Madrigal and Its Outcasts: Marenzio, Giovannelli, and the Revival of Sannazaro's ‘Arcadia.’” Journal of Musicology 21 (2004), 3–45. http://www.jstor.org/stable/10.1525/jm.2004.21.1.3

Gerbino, Giuseppe. Music and the Myth of Arcadia in Renaissance Italy. Cambridge and New York: Cambridge University Press, 2009.

Haar, James. Essays on Italian Poetry and Music in the Renaissance, 1350–1600. Berkeley: University of California Press, 1986. http://www.worldcat.org/oclc/11754808

*Mace, Dean T. “Pietro Bembo and the Literary Origins of the Italian Madrigal.” The Musical Quarterly 55, (1969), 65–86. http://www.jstor.org/stable/740912

*Macy, Laura. “Speaking of Sex: Metaphor and Performance in the Italian Madrigal.” Journal of Musicology 14 (1996), 1–34. http://wwww.jstor.org/stable/763955

*McClary, Susan. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley and Los Angeles: University of California Press, 2004. http://www.worldcat.org/oclc/53485109

Newcomb, Anthony. The Madrigal at Ferrara, 1579–1597, 2 vols. Princeton, N.: Princeton University Press, 1980. http://www.worldcat.org/oclc/3627712

*Owens, Jessie Ann. “Marenzio and Wert Read Tasso: A Study in Contrasting Aesthetics.” Early Music 27 (1999), 555–74. http://wwww.jstor.org/stable/3128758

*Perkins, Leeman L. “Toward a Typology of the ‘Renaissance’ Chanson.” Journal of Musicology 6 (1988), 421–47. http://www.jstor.org/stable/763741

Schleuse, Paul. “‘A Tale Completed in the Mind’: Genre and Imitation in L’Amfiparnaso (1597).” Journal of Musicology 29 (2012), 101–53. http://www.jstor.org/stable/10.1525/jm.2012.29.2.101

*Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987. http://www.worldcat.org/oclc/11468211

Chapter 11: Music and the Crisis of Belief

Crook, David. Orlando Di Lasso's Imitation Magnificats for Counter-Reformation Munich. Princeton: Princeton University Press, 1994. http://www.worldcat.org/oclc/28966569

*Crook, David. “A Sixteenth-Century Catalog of Prohibited Music.” Journal of the American Musicological Society 62 (2009), 1–78. http://wwww.jstor.org/stable/10.1525/jams.2009.62.1.1

Diefendorf, Barbara. Beneath the Cross: Catholics and Huguenots in Sixteenth-Century Paris. New York: Oxford University Press, 1991. http://www.worldcat.org/oclc/22623883

Duffy, Eamon. The Stripping of the Altars: Traditional Religion in England, c.1400–c.1580. New Haven, CT: Yale University Press, 1992. http://www.worldcat.org/oclc/26551716

Fisher, Alexander J. Music and Religious Identity in Counter-Reformation Augsburg, 1580–1630. St. Andrews Studies in Reformation History. Aldershot, Hants, England; Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/52554436

Fromson, Michele. “Themes of Exile in Willaert's ‘Musica nova.’” Journal of the American Musicological Society 47 (1994), 442–87. http://wwww.jstor.org/stable/3128799

*Garside, Charles. “Calvin's Preface to the Psalter: A Re-Appraisal.” Musical Quarterly 37 (1951), 566–77. http://www.jstor.org/stable/739611

Levy, Kenneth J. “‘Susanne un Jour’ the History of a 16th-Century Chanson.” Annales Musicologiques 1 (1953), 375–408.

Lockwood, Lewis. The Counter-Reformation and the Masses of Vincenzo Ruffo. [Vienna]: Universal Edition, 1970. http://www.worldcat.org/oclc/227402

*Macey, Patrick. Bonfire Songs: Savonarola's Musical Legacy. Oxford and New York: Clarendon Press, 1998. http://www.worldcat.org/oclc/38061704

*Macey, Patrick. “Savonarola and the Sixteenth-Century Motet.” Journal of the American Musicological Society 36 (1983), 422–52. http://wwww.jstor.org/stable/831234

*McCarthy, Kerry. Liturgy and Contemplation in Byrd's Gradualia. New York: Routlege, Francis and Taylor, 2007. http://www.worldcat.org/oclc/489067813

*Monson, Craig A. “Byrd, the Catholics, and the Motet: The Hearing Reopened.” Hearing the Motet, Dolores Pesce, ed. New York and Oxford: Oxford University Press, 1997, 348–74. http://www.worldcat.org/oclc/34244440

*Monson, Craig A. “The Council of Trent Revisited.” Journal of the American Musicological Society. 55 (2002), 1–37. http://wwww.jstor.org/stable/10.1525/jams.2002.55.1.1

*Nugent, George. “Anti-Protestant Music for Sixteenth-Century Ferrara.” Journal of the American Musicological Society. 43 (1990), 228–91. http://wwww.jstor.org/stable/831615

*Oettinger, Rebecca Wagner. Music as Propaganda in the German Reformation. St. Andrews Studies in Reformation History. Aldershot, Hants, England; Burlington, VT: Ashgate, 2001. http://www.worldcat.org/oclc/46909062

Palisca, Claude V. “Bernardino Cirillo's Critique of Polyphonic Church Music of 1549: Its Background and Resonance.” Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, Jessie Ann Owens and Anthony Cummings, eds. Warren, MI: Harmonie Park Press, 1997, 282–91. http://www.worldcat.org/oclc/35593888

Quereau, Quentin W. “Sixteenth-Century Parody: An Approach to Analysis.” Journal of the American Musicological Society 31 (1978), 407–41. http://wwww.jstor.org/stable/831363

Chapter 12: The Arts of Improvisation, Embellishment, and Variation

*Brown, Howard Mayer. Embellishing Sixteenth-Century Music. London: Oxford University Press, 1976. http://www.worldcat.org/oclc/2473212

*Butler, Gregory G. “The Fantasia as Musical Image.” The Musical Quarterly 60 (1974), 602–15. http://wwww.jstor.org/stable/741767

Coelho, Victor A. and John Griffiths. “Une Fantasie De La Renaissance: Compositional Process in the Renaissance Fantasia.” Journal of the Lute Society of America 23 (1990), 1–6.

Farrell, Peter, “Diego Ortiz' Tratado de glosas.” Journal of the Viola da Gamba Society of America 4 (1967), 5–9. http://vdgsa.org/pgs/toc.html#4

Haggh, Barbara and Maricarmen Gómez. “Minstrel Schools in the Late Middle Ages.” Early Music 18 (1990), 212–26. http://wwww.jstor.org/stable/3127809

*Horsley, Imogene. “Improvised Embellishment in the Performance of Renaissance Polyphonic Music.” Journal of the American Musicological Society 4 (1951), 3–19. http://wwww.jstor.org/stable/830116

*Hudson, Richard. “The Folia, Fedele, and Falsobordone.” The Musical Quarterly 58 (1972), 398–411. http://www.jstor.org/stable/741476

*Polk, Keith. “Voices and Instruments: Soloists and Ensembles in the 15th Century.” Early Music 18 (1990), 179–98. http://wwww.jstor.org/stable/3127807

Polk, Keith. German Instrumental Music of the late Middle Ages: Players, Patrons, and Performance Practice. Cambridge and New York: Cambridge University Press, 1992. http://www.worldcat.org/oclc/24428986

*Roig-Francoli. “Playing in Consonances: A Spanish Renaissance Technique of Chordal Improvisation.” Early Music 23 (1995), 461–71. http://wwww.jstor.org/stable/3138122

*Stras, Laurie. “Recording Tarquinia: Imitation, Parody and Reportage in Ingegneri's ‘Hor che ‘l ciel e la terra ‘'l vento tace.’” Early Music 27 (1999), 358–63. http://www.jstor.org/stable/3128653

Editions and Reprints

Bassano, Giovanni and Richard Erig. Ricercate, passaggi et cadentie: 1585. Italienische Diminutionslehren; 1. Zurich: Musikverlag zum Pelikan, 1976. http://www.worldcat.org/oclc/3570732

Conforti, G. L. and Bradshaw, Murray C. Breve et facile maniera d'essercitarsi a far passaggi: (Rome, 1593). Rome: American Institute of Musicology, 1999. http://www.worldcat.org/oclc/50665729

Dalla Casa, Girolamo. Il Vero modo di diminuir, con tutte le sorti di stromenti. Bibliotheca Musica Bononiensis. Sezione Ii. N. 23. Bologna: Forni editore, 1970. http://www.worldcat.org/oclc/611136629

Ganassi, Silvestro. Opera intitulata Fontegara: Venice 1535; a Treatise on the Art of Playing the Recorder and of Free Ornamentation. Berlin-Lichterfelde: R. Lienau, 1959. http://www.worldcat.org/oclc/213746678

Ortiz, Diego. Trattado de glosas: New Edition in Four Languages of the Original Spanish and Italian Editions, Rome 1553, with Separate Viol Part. Kassel: BÅ renreiter, 2003. http://www.worldcat.org/oclc/53827382

Chapter 13: Empire, Exploration, and Encounter

*Bermudez, Egberto. “Urban Musical Life in the European Colonies: Examples from Spanish America, 1530–1650.” In Music and Musicians in Renaissance Cities and Towns, Fiona Kisby, ed., 167–80. Cambridge, England: Cambridge University Press, 2001. http://www.worldcat.org/oclc/44750788

*Bloechl, Olivia. “Protestant Imperialism and the Representation of Native American Song. Musical Quarterly 87 (2004), 44–86. http://wwww.jstor.org/stable/3600924

Cummings, Anthony M. “Gian Maria Giudeo, Sonatore Di Liuto, and the Medici.” Fontes artes musicae 38 (1991), 312–18.

Einstein, Alfred. “The Greghesca and the Giustiniana of the Sixteenth Century.” Journal of Renaissance and Baroque Music 1 (1946), 19–32. http://www.jstor.org/stable/20528709

*Fenlon, Iain. “Magnificence as Civic Image: Music and Ceremonial Space in Early Modern Venice.” In Music and Musicians in Renaissance Cities and Towns, Fiona Kisby, ed., 28–44. Cambridge, England: Cambridge University Press, 2001. http://www.worldcat.org/oclc/44750788

Irving, D. Colonial Counterpoint: Music in Early Modern Manila. New York: Oxford University Press, 2010. http://www.worldcat.org/oclc/643494303

Lasocki, David. “The Bassanos: Anglo-Venetian and Venetian.” Early Music 14 (1986), 558–60. http://www.jstor.org/stable/3127524

*Lindell, Robert “The Wedding of Archduke Charles and Maria of Bavaria in 1571.” Early Music 18 (1990), 253–69. http://www.jstor.org/stable/3127812

*Lindorff, Joyce. “Missionaries, Keyboards and Musical Exchange in the Ming and Qing Courts.” Early Music 32 (2004), 403–14. http://wwww.jstor.org/stable/3519339

Parisi, Susan. “The Jewish Community and Carnival Entertainment at the Mantuan Court in the Early Baroque.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, 293–305, Anthony Cummings and Jessie Ann Owens, eds. Warren, MI: Harmonie Park Press, 1997. http://worldcat.org/oclc/35593888

*Prior, Roger. “Jewish Musicians at the Tudor Court.” The Musical Quarterly 69 (1983), 253–65. http://wwww.jstor.org/stable/741953

Slim, Colin. “Gian and Gian Maria, Some Fifteenth- and Sixteenth-Century Namesakes.” Musical Quarterly 57 (1971), 562–74. http://www.jstor.org/stable/741258

Tomlinson, Gary. The Singing of the New World: Indigenous Voice in the Era of European Contact. New York: Cambridge University Press, 2007. http://www.worldcat.org/oclc/77256972

*Woodfield, Ian. “The Keyboard Recital in Oriental Diplomacy, 1520–1620.” Journal of the Royal Musical Association 115 (1990), 33–62. http://www.jstor.org/stable/766462

Chapter 14: Tradition and Innovation around 1600

Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987. http://www.worldcat.org/oclc/11468211

Van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005. http://www.worldcat.org/oclc/56481445

Watkins, Glenn. The Gesualdo Hex: Music, Myth, and Memory. New York: Norton, 2010. http://www.worldcat.org/oclc/317919895