Music 9537a Josquin des Prez Fall 2018 Meetings: Tues. 1:30-4:30 TC 340 Instructor: James Grier Talbot College 223 telephone: EXT 85340 email: [email protected] This course will examine themes in the output of Josquin des Prez, the leading composer and musician of his generation in Western Europe at the turn of the sixteenth century. Topics covered will include his biography, particularly in regard to his professional career, and the principal genres he composed. Students will develop their skills in analyzing music of the fifteenth century, in researching historical issues concerning Josquin’s career and output, and in developing independent research projects. In order to ensure fairness and consistency for all students, academic accommodation for work representing 10% or more of the student’s overall grade in the course shall be granted only in those cases where there is documentation indicating that the student was seriously affected by illness and could not reasonably be expected to meet his/her academic responsibilities. Documentation shall be submitted, as soon as possible, to the office of the Associate Dean (Graduate Studies). Students with special learning needs or other circumstances are asked to inform the instructor as soon as possible so that necessary accommodations can be considered. The Policy on Accommodation for Illness, which is found at: http://www.uwo.ca/univsec/pdf/academic_policies/appeals/accommodation_medical.pdf Scholastic offences are taken seriously and students are directed to read the appropriate policy, specifically, the definition of what constitutes a Scholastic Offence, as found at http://www.uwo.ca/univsec/pdf/academic_policies/appeals/scholastic_discipline_g rad.pdf. As part of a successful graduate student experience at Western, we encourage students to make their health and wellness a priority. Western provides several on- campus health-related services to help students achieve optimum health and engage in healthy living while pursuing a graduate degree. Students seeking help regarding mental health concerns are advised to speak to someone in whom they feel comfortable confiding, such as a faculty supervisor, a program advisor, or the Associate Dean (Graduate Studies). Campus mental health resources may be found at http://www.health.uwo.ca/mental_health/resources.html. 1 2 BIBLIOGRAPHY: Blackburn, Bonnie, J., “Josquin’s Chansons: Ignored and Lost Sources,” Journal of the Ameri- can Musicological Society 29 (1976): 30-76. Bokulich, Clare, “Contextualizing Josquin’s Ave Maria . virgo serena,” Journal of Musicology 34 (2017): 182-240. Charles, Sydney Robinson, Josquin des Prez: A Guide to Research (New York, 1983). Cummings, Anthony M., “The Transmission of Some Josquin Motets,” Journal of the Royal Musical Association 115 (1990): 1-32. Elders, Willem, and Frits de Haen, eds., Proceedings of the International Josquin Symposium Utrecht 1986 (Utrecht, 1991). Fallows, David, Josquin, Collection «Épitome Musical» (Turnhout: Brepols, 2009). ———, “Josquin and Milan,” Plainsong & Medieval Music 5 (1996): 69-80. Finscher, Ludwig, ed., Quellenstudien zur Musik der Renaissance, 1, Formen und Probleme der Überlieferung mehrstimmiger Musik im Zeitalter Josquins Desprez (Munich, 1981). ———, ed., Quellenstudien zur Musik der Renaissance, 2, Datierung und Filiation von Musikhandschiften der Josquin-Zeit (Wiesbaden, 1983). Higgins, Paula, “The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius,” Journal of the American Musicological Society 57 (2004): 443-510. Jas, Eric, “What other Josquin?” Early Music History 33 (2014): 109-42. Josquin des Prés, Musik—Konzepte 26/27 (Munich, 1982). Judd, Cristle Collins, “Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500,” Journal of the American Musicological Society 45 (1992): 428-67. ———, “Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s Ave Maria . virgo serena,” Music Analysis 4 (1985): 201-39. Kirkman, Andrew, “From Humanism to Enlightenment: Reinventing Josquin,” Journal of Musicology 17 (1999): 441-58. Long, Michael, “Symbol and Ritual in Josquin’s Missa di Dadi,” Journal of the American Musicological Society 42 (1989): 1-22. Lowinsky, Edward E., and Bonnie J. Blackburn, eds., Josquin des Prez: Proceedings of the In- ternational Josquin Festival-Conference Held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971 (London, 1971). 3 Macey, Patrick, “Galeazzo Maria Sforza and Musical Patronage in Milan: Compère, Weerbeke and Josquin,” Early Music History 15 (1996): 147-212. ———, “Josquin, Good King René, and O bone et dulcissime Jesu,” in Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce (New York, 1997), pp. 213-42. Matthews, Lora, and Paul A. Merkley, “Josquin Desprez and His Milanese Patrons,” Journal of Musicology 12 (1994): 434-63. ———, “Iudochus de Picardia and Josseqin Lebloitte dit Deprez: The Names of the Singer(s),” Journal of Musicology 12 (1994): 200-26. Merkley, Paul, “Josquin Desprez in Ferrarra,” Journal of Musicology 18 (2001): 544-83. Osthoff, Helmuth, Josquin Desprez, 2 vols. (Tutzing, 1962). 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, ed. Jessie Ann Owens and Anthony M. Cummings, Detroit Monographs in Musicology, Studies in Music, 18 (Warren, MI, 1997), pp. 271-80. Perkins, Leeman L., “Josquin’s Qui habitat and the Psalm Motets,” Journal of Musicology 26 (2009): 512-65. 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. Rodin, Jesse, “Finishing Josquin’s ‘Unfinished’ Mass: A Case of Stylistic Imitation in the Cappella Sistina,” Journal of Musicology 22 (2005): 412-53. ———. Josquin’s Rome: Hearing and Composing in the Sistine Chapel, AMS Studies in Music (New York: Oxford University Press, 2012). ———, “‘When in Rome . .’: What Josquin Learned in the Sistine Chapel,” Journal of the American Musicological Society 61 (2008): 307-72. Sabaino, Daniele, and Marco Mangiani, “Tonal Space Organization in Josquin’s Late Motets,” Musica Disciplina 59 (2014): 93-125. Sargent, Joseph, “Morales, Josquin and the L’homme armé Tradition,” Early Music History 30 (2011): 177-212. Sherr, Richard, “Conflicting Levels of Meaning and Understanding in Josquin’s O admirabile commercium Motet Cycle,” in Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce (New York, 1997), pp. 193-212. ———, “Illibata Dei Virgo Nutrix and Josquin’s Roman Style,” Journal of the American 4 Musicological Society 41 (1988): 434-64. Sherr, Richard, ed., The Josquin Companion (Oxford and New York, 2000). Urquhart, Peter, “Another Impolitic Observation on Absalon fili mi,” Journal of Muiscology 21 (2004): 343-80. Wegman, Rob C., “‘And Josquin Laughed . .’ Josquin and the Composer’s Anecdote in the Sixteenth Century,” Journal of Musicology 17 (1999): 319-57. ———, “The other Josquin,” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 58 (2008): 33-68. EVALUATION: Seminar presentation and final paper 100% All students will submit a one-page proposal, with attached bibliography, of the project they pur- sue for their Seminar presentation and Final paper by 5 October. Seminar presentations will be scheduled at that time for the last weeks of term. Final papers are due 14 December. SYLLABUS: Meetings in the first seven weeks will be devoted to the following topics: 1. Introduction and historical background. Repertory: Mille regretz. (MCD 2311, 3612, 9037) 2. Josquin and Genius. Reading: Higgins, “The Apotheosis of Josquin des Prez.” 3. Research in Josquin’s biography. Reading: Willem Elders, “Who was Josquin?” in Elders and de Haen, eds., Proceedings of the International Josquin Symposium, pp. 1-14. Fallows, “Josquin and Milan.” Edward E. Lowinsky, “Ascanio Sforza’s Life: A Key to Josquin’s Biogra- phy and an Aid to the Chronology of his Works,” in Lowinsky and Blackburn, eds., Josquin des Prez, pp. 31-75. Matthews and Merkley, “Josquin Desprez and His Milanese Patrons.” Merkley, “Josquin Desprez in Ferrarra.” Repertory: El Grillo. (MCD 2311, 3612, 11280) Scaramella. (MCD 2311) 4. The Chanson. Reading: Brian Jeffery, “The Literary Texts of Josquin’s Chansons,” in Lowinsky 5 and Blackburn, eds., Josquin des Prez, pp. 401-7. Repertory: Adieu mes amours. (MCD 5916, 15838) Douleur me bat. (MCD 3612) Nimphes, nappés. (MCD 3612) Faulte d’argent. (MCD 3612) La déploration de Johan. Okeghem (Nymphes des bois). (MCD 1350, 1529, 2311, 3612, 9438) 5. The Motet. Reading: Myroslaw Antonowycz, “‘Illibata Dei Virgo’: A Melodic Self-Portrait of Josquin des Prez,” in Lowinsky and Blackburn, eds., Josquin des Prez, pp. 545-59. Sherr, “Illibata Dei Virgo Nutrix and Josquin’s Roman Style.” Joshua Rifkin, “Problems of Authorship in Josquin: Some Impolitic Ob- servations, With a Postscript on Absalon, fili mi,” in Elders and de Haen, eds., Proceedings of the International Josquin Symposium, pp. 45-52. Urquhart, “Another Impolitic Observation on Absalon fili mi.” Repertory: Ave Maria. (MCD 1959, 2311, 15775) Illibata dei virgo nutrix. (MCD 15838) O virgo prudentissima. (MCD 1710, 15775) Benedicta es. (MCD 4691, 11429) De profundis clamavi (four voices). (MCD 2311) Absalon, fili mi. (MCD 2311, 15844) 6. The Mass. Reading: Walter H. Rubsamen, “Unifying Techniques in Selected