Essays from the Busnois Congress

Higgins Paula, ed. Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music. Oxford: Clarendon Press ; New York: Oxford University Press, 1999. xxii, 599 p. : ill. ; 24 cm. Contents: 1. Introduction. “Celebrating Transgression and Excess: Busnoys and the Boundaries of Late Medieval Culture” / P. Higgins — 2. “‘Trained and Immersed in All Musical Delights’: Towards a New Picture of Busnoys” / D. Fallows. Appendix A. Outline Chronology of Busnoys’s Songs. Appendix B. Inventory of Wolfenbüttel 287. Part I. Music, Ceremony, and Ritual in the Late Middle Ages. 3. “Music and Ritual at Charles the Bold’s Court: The Function of Liturgical Music by Busnoys and His Contemporaries” / H. M. Brown. Appendix A. Passages from the 1469 Regulations at Charles the Bold’s Court Concerning Singing. Appendix B. Liturgical Occasions Celebrated With Special Solemnity at the Court of Charles the Bold. Appendix C. The Contents of Brussels 5557. 4. “On the Origins, Contexts, and Implications of Busnoys’s Plainsong Cantus Firmi: Some Preliminary Remarks” / M. J. Bloxam — 5. “The Ceremony of the Armed Man: The Sword, the Altar, and the L’homme armé Mass” / F. Warmington. Appendix A. Extracts Concerning the Mass Called the Ceremony of the Armed Man, from the Zibaldone Quaresimale of Giovanni Rucellai. Appendix B. The Imperial or Royal Sword Ceremony During Christmas Matins from the Papal Ceremonial of Pierre Ameil, c.1375-1400. Appendix C. Papal Gifts of the Sword and Hat Blessed on Christmas and Sent to Distant Recipients, 1455-1503. Appendix D. Gifts in the Pope’s Presence of the Blessed Sword and Hat, 1455-1503, in Rome. Appendix E. Text for the Presentation of the Blessed Sword and Hat, Instituted by Sixtus IV. Part II. Intertextual, Contextual, and Hermeneutic Approaches to Late Medieval Musical Culture. 6. “Arma virumque cano: Echoes of a Golden Age” / M. Long — 7. “Musical Politics in Late Medieval Poitiers: A Tale of Two Choirmasters” / P. Higgins. Appendix. Chapter Deliberation re: Busnoys v. Le Begue. 8. “Mensural Intertextuality in the Sacred Music of Antoine Busnoys” / R. C. Wegman. Appendix. Busnoys, Gaude caelestis Domina. 9. “Text, Tone, and Symbol: Regarding Busnoys’s Conception of In hydraulis and its Presumed Relationship to Ockeghem’s Ut heremita solus” / J. van Benthem. Appendix A. Busnoys’s In hydraulis and its Sources. Appendix B. The Fifteenth-Century Orthography of Ockeghem’s Name. Appendix C. In hydraulis: Letter-Values and Golden Sections. Part 3. Issues of Authorship, Attribution, and Anonymity in Archival and Musical Sources. 10. “The Magnificat Group of Antoine Busnoys: Aspects of Style and Attribution” / M. Natvig. Appendix. Text and Translation of the Magnificat. 11. “Resjois toi terre de France/Rex pacificus: An ‘Ockeghem’ Work Reattributed to Busnoys” / A. Lindmayr-Brandl — 12. “Busnoys and ‘Caron’ in Documents from Brussels” / B. Haggh. Appendix A. Documents from Brussels on Busnoys and ‘Caron’. Appendix B. Summary of Burgundian Court Escroes Showing Caron’s Presence or Absence. 13. “Conflicting Attributions and Anonymous Chansons in the ‘Busnoys’ Sources of the Fifteenth Century” / L. L. Perkins. Appendix A. Busnoys Chanson Attributions. Appendix B. Virelais in the Sources Central for Busnoys: A Summary Overview. Appendix C. Inventory of Virelais in the Sources Central for Busnoys. Appendix D. Catalogue of Chansons by Antoine Busnoys. Part IV. Reading the Theorists on Compositional Procedures and Changing Styles. 14. “False Concords in Busnoys” / P. Urquhart. Appendix A. Thirty-one Harmonic Fifths in Busnoys’s Three-Part Chansons that are Probably Diminished. Appendix B. Busnoys, C’est bien maleur. 15. “Simultaneous Conception and Compositional Process in the Late Fifteenth Century” / R. Wexler — 16. “Reading Tinctoris for Guidance on Tempo” / A. Blachly. Part V. Busnoys’s Legacy. 17. “Henricus Isaac and Fortuna desperata” / M. Picker. Appendix. Fortuna desperata: A List of Individual Settings of Voices Borrowed from the Canzona Attributed to Busnoys. 18. “Busnoys and Japart: Teacher and Student?” / A. W. Atlas — 19. “Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata” / H. Meconi. Appendix A. Fortuna desperata: Chronology to c.1510. Appendix B. Comparison of London 16439 and Original Layer of Riccardiana 2723. Appendix C. Stanze 33-37 of Poliziano, Stanze cominciate per la Giostra del Magnifico Giuliano de’Medici. 20. “Busnoys and Italy: The Evidence of Two Songs” / J. Rifkin — Notes on Contributors — Index of Manuscripts and Early Printed Books — Index of Compositions by or Attributed [i.e., Ascribed] to Busnoys — General Index. Includes bibliographical references and index. LCCN: 95-45522. GB99-80706. ISBN: 0198164068. Accession no. (OCLC): 33333310. [42908695/19].