Research Catalogue

References

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• Almela i Vives, Francesc, El Duc De Calàbria I La Seua Cort (Valencia: Sicània, 1958)
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• Benedictines of Solesmes, The Liber Usualis (Tournai: Desclée, 1961)
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• Bent, Margaret, “Resfacta and Cantare Super Librum”, Journal of the American Musicological Society, 36/3 (American Musicological Society, 1983)
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• Erickson, Raymond, Musica Enchiriadis and Scolica Enchiriadis (Yale University Press, 1995)
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• Escrivà Llorca, Ferran, “Eruditio, Pietas Et Honor: Joan De Borja I La Música Del Seu Temps (1533-1606)”, 2015
• Escrivà Llorca, Ferran, “La Vida Musical a Gandia Durant El Segle XVI”, Revista De La Safor, 11 (Centre d’Estudis i Investigacions Comarcals Alfons el Vell, 2022)
• Falck, Robert, “Parody and Contrafactum: A Terminological Clarification”, The Musical Quarterly, 65/1 (Oxford University Press, 1979)
• Ferand, Ernest, “What Is Res Facta?”, Journal of the American Musicological Society, 10/3 (American Musicological Society, 1957)
• Fernández-Morera, Darío, The Myth of the Andalusian Paradise (Wilmington: ISI Books, 2016)
• Flecha, Mateo, Las Ensaladas (Prague: Negrino, 1581)
• Forster, Georg, Selectissimarum Mutetarum (Nürnberg: Petreius, 1540)
• Franke, Veronica Mary, “Borrowing Procedures in Late 16th-Century Imitation Masses and Their Implications for Our View of Parody or Imitatio”, Studien Zur Musikwissenschaft, 46 (Gesellschaft zur Herausgabe von Denkmalern der Tonkunst in Osterriech, 1998)
• Goehr, Lydia, The Imaginary Museum of Musical Works (Oxford University Press, 1992)
• Gómez Muntané, M. Carmen, El Cancionero De Uppsala. Estudio Y Comentarios (Valencia, 2003)
• Haggh, Barbara, “From Auxerre to Soissons: The Earliest History of the Responsory Gaude, Maria Virgo in Gautier De Coinci’s Miracles De Nostre Dame”, in Gautier De Coinci: Miracles, Music, and Manuscripts, ed. by Kathy M. Krause and Allison Stones (Turnhout: Brepols, 2006)
• Haines, John, “The Arabic Style of Performing Medieval Music”, Early Music, 29/3 (Oxford University Press, 2001)
• Harrán, Don, “How to Lay the Lay: New Thoughts on Text Underlay”, Musica Disciplina, 51 (American Institute of Musicology, 1997)
• Harrán, Don, “New Light on the Question of Text Underlay Prior to Zarlino”, Acta Musicologica, 45/1 (International Musicological Society, 1973)
• Harrán, Don, “Vicentino and His Rules of Text Underlay”, The Musical Quarterly, 59/4 (Oxford University Press, 1973)
• Hiley, David, Western Plainchant: A Handbook (Oxford University Press, 1993)
• Holman, Hans-Jörgen, “Melismatic Tropes in the Responsories for Matins”, Journal of the American Musicological Society, 16/1 (American Musicological Society, 1963)
• Jackson, Philip T, “Two Descendants of Josquin’s Hercules Mass”, Music &Amp; Letters, 59/2 (Oxford University Press, 1978)
• Janin, Barnabé, Chanter Sur Le Livre. Manuel Pratique d’improvisation Polyphonique De La Renaissance (Lyon: Simétrie, 2014)
• Jones, Sterling, and John Haines, “The Arabic Style”, Early Music, 30/1 (Oxford University Press, 2002)
• Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics”, Journal of the History of Ideas, 12/4 (University of Pennsylvania Press, 1951)
• Kristeller, Paul Oskar, “The Modern System of the Arts: A Study in the History of Aesthetics”, Journal of the History of Ideas, 13/1 (University of Pennsylvania Press, 1952)
• Kruckenberg, Lori, “Sequence”, in The Cambridge History of Medieval Music, ed. by Mark Everist and Thomas Forrest Kelly (Cambridge University Press, 2018)
• Lanfranco, Giovanni Maria, Scintille Di Musica (Brescia: Britannico, 1533)
• Lasso de Vega, Miguel, Doña Mencía De Mendoza, Marquesa Del Cenete (1508-1554) (Madrid, 1942)
• Lenaerts, René Bernard, “The 16th-Century Parody Mass in the Netherlands”, The Musical Quarterly, 36/3 (Oxford University Press, 1950)
• Lewis, Mary S, “Zarlino’s Theories of Text Underlay As Illustrated in His Motet Book of 1549”, Notes, Second Series, 42/2 (Music Library Association, 1985)
• Listenius, Nicolaus, Musica (Wittenberg: Rhau, 1537)
• Llorens, Josep M, “El Cançoner De Gandia”, Recerca Musicològica, 1 (Institut de Musicologia Josep Ricart i Matas, 1981)
• Lockwood, Lewis, “On Parody As Term and Concept in 16th-Century Music”, in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. by Jan LaRue (New York: Norton, 1966)
• Lusitano, Vincente, Liber Primus Epigramatum (Rome: Dorico, 1555)
• Lütteken, Laurenz, “The Work Concept”, in The Cambridge History of Fifteenth-Century Music, ed. by Anna Maria Busse Berger and Jesse Rodin (Cambridge University Press, 2015)
• Maistre Jhan, “Missa Inviolata”, ed. by Jorge Martín (Ars Subtilior Editions, 2014)
• Marisi, Rosella, “The Parody Mass and the Rethorical-Pedagogical Principle of Imitation”, Review of Artistic Education, 21 (George Enescu University of Arts, Center of Intercultural Studies and Researches, 2021) <https://doi.org/10.2478/rae-2021-0002>
• McMurtry, William M, “Ferdinand, Duke of Calabria, and the Estensi: A Relationship Honored in Music”, The Sixteenth Century Journal, 8/3 (Sixteenth Century Publisher, 1977)
• Merkley, Paul, “Josquin Desprez in Ferrara”, The Journal of Musicology, 18/4 (University of California Press, 2001)
• Milán, Luis, El Cortesano (Valencia, 1561)
• Milán, Luis, Libro De Motes De Damas Y Caballeros (Valencia, 1535)
• Milán, Luis, Libro De Música De Vihuela De Mano Intitulado El Maestro (Valencia, 1536)
• Moll, Jaime, “Notas Para La Historia Musical De La Corte Del Duque De Calabria”, Anuario Musical, 18 (Consejo Superior de Investigaciones Científicas, 1963)
• Morales, Cristóbal, Missarum Liber Primus (Rome: Dorico, 1544)
• Nelson, Bernadette, “A Parody on Josquin’s Inviolata in Barcelona 1967: An Unknown Mass by Philippe Verdelot?”, Journal of the Royal Musical Association, 127/2 (Royal Musical Association, 2002)
• Nelson, Bernadette, “Choirbook for the Chapel of Don Fernando De Aragón, Duke of Calabria: The Sacred Repertories in Barcelona M 1166-1967”, in Fuentes Musicales En La península ibérica Ca. 1250 – Ca. 1550. Actas Del Coloquio Internacional. Lleida, 1-3 Abril 1996, ed. by M. Carmen Gómez Muntané and Màrius Bernadó Tarragona (Universitat de Lleida, 2001)
• Nelson, Bernadette, “The Court of Don Fernando De Aragon, Duke of Calabria in Valencia, c.1526-1550”, Early Music, 32/2 (Oxford University Press, 2004)
• Nugent, George, “Anti-Protestant Music for Sixteenth-Century Ferrara”, The Journal of Musicology, 43/2 (University of California Press, 1990)
• Nugent, George, “Jacquet’s Tributes to the Neapolitan Aragonese”, The Journal of Musicology, 6/2 (University of California Press, 1988)
• Park, Eulmee, “De Preceptis Artis Musicae of Guilielmus Monachus: A New Edition, Translation, and Commentary”, 1993
• Peláez Bilbao, Patricia, and Arturo Tello Ruiz-Pérez, “Hacia Un Concepto De La Secuencia (o Prosa) Litúrgica Medieval”, Cuadernos De Música Iberoamericana, 34 (Universidad Complutense de Madrid, 2021)
• Polanyi, Michael, The Tacit Dimension (London, 1966)
• Querol y Roso, Luis, La última Reina De Aragon, Virreina De Valencia (Valencia, 1931)
• Rees, Owen, “Singing Sweetly to the Virgin: Josquin’s Inviolata”, in Aspects of the Performative in Medieval Culture, ed. by Manuele Gragnolati and Almut Suerbaum (Berlin, New York: De Gruyter, 2010)
• Rice, Stephen, “Resonances of Josquin in Later Inviolata Settings”, in Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History, ed. by Katalijne Schiltz and Bonnie J. Blackburn (Leuven, 2007)
• Romeu Figueras, José, “Mateo Flecha El Viejo, La Corte Literariomusical Del Duque De Calabria Y El Cancionero Llamado De Upsala”, Anuario Musical, 13 (Consejo Superior de Investigaciones Científicas, 1958)
• Ryle, Gilbert, “Knowing How and Knowing That: The Presidential Address”, Proceedings of the Aristotelian Society, New Series, 46 (Aristotelian Society, 1946)
• Scotto, Girolamo, Villancicos De Diversos Autores (Venice: Scotto, 1556)
• Shiner, Larry, The Invention of Art: A Cultural History (University of Chicago Press, 2001)
• Shull, Jonathan, “Locating the past in the Present: Living Traditions and the Performance of Early Music”, Ethnomusicology Forum, 15/1 (British Forum for Ethnomusicology, 2006)
• Sigüenza, José, Historia De La Orden De San Jerónimo (Madrid, 1907)
• Smith, Anne, “Das Studio Der frühen Musik - A Case-Study in the Transmission of Stylistic Ideas in the Early Music Movement”, in Beredte Musik: Konversationen Zum 80. Geburtstag Von Wulf Arlt, ed. by Martin Kirnbauer (Basel: Schwabe, 2018)
• Steiner, Ruth, “Some Melismas for Office Responsories”, Journal of the American Musicological Society, 26/1 (American Musicological Society, 1973)
• Tinctoris, Johannes, Terminorum Musicae Diffinitorium (Treviso: Gerardus de Lisa, 1494)
• Toft, Robert, Aural Images of Lost Traditions. Sharps and Flats in the Sixteenth Century (University of Toronto Press, 1992)
• Towne, Gary, “A Systematic Formulation of Sixteenth-Century Text Underlay Rules”, Musica Disciplina, 44 (American Institute of Musicology, 1990)
• Towne, Gary, “A Systematic Formulation of Sixteenth-Century Text Underlay Rules”, Musica Disciplina, 45 (American Institute of Musicology, 1991)
• Treitler, Leo, With Voice and Pen: Coming to Know Medieval Song and How It Was Made (Oxford University Press, 2003)
• Verdelot?, Philippe, “Missa Inviolata”, ed. by Bernadette Nelson (Mapa Mundi, 2001)
• Vicentino, Nicola, L’Antica Musica Ridotta Alla Moderna Prattica (Rome: Barre, 1555)
• Wegman, Rob C, “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500”, Journal of the American Musicological Society, 49/3 (American Musicological Society, 1996)
• Woodmansee, Martha, The Author, Art, and the Market (Columbia University Press, 1994)
• Yri, Kirsten, “Thomas Binkley and the Studio Der Frühen Musik: Challenging the Myth of Westernness”, Early Music, 38/2 (Oxford University Press, 2010)
• Zarlino, Gioseffo, Le Istitutioni Harmoniche (Venice, 1558)