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Selected New Titles from AIM

MSD 47 The Songs of GUILLAUME DUFAY: Critical Commentary to the Revision of Corpus Mensurabilis Musicae, ser. I, vol. 6, by David Fallows.
       NEW Paperbound edition.  xiii+276 pp.  27 cm  (2016)   $65.00

Musica Disciplina, vol. 59 (2014)
     MD 59 MD Vol. LIX 2014.  ISSN: 0077-2461-59    296 pp.,  (2016)   $80.00

Alessandro Grandi, Opera Omnia, edited by Jeffrey Kurtzman, with Dennis Collins, Robert Kendrick, Steven Saunders, and John Whenham.
   Vol. 5. Il quatro libro de motetti a due, tre, quattro, et sette voci (1616),
edited by Dennis Collins and Robert Kendrick.
     CMM 112-5    978-1-59551-513-1    1st ed.    lvii+ 71 pp.  36 cm     2015      $129.00
           Contents and sample pages (PDF)

Alessandro Grandi (ca. 1586–1630) is best known as the first composer to use a form of the word “cantata” to describe a set of musical compositions (for his Cantade et arie, ca. 1618) and as Monteverdi’s vice-maestro di cappella at San Marco in Venice during the 1620s. Grandi’s Fourth Book of motets (1616), mainly smaller-scale pieces, contains works that can be linked to his two “academic” employers in Ferrara, the confraternity-academies of the Spirito Santo and the Morti. Like Grandi’s other prints, this book received multiple reprints, and some of its contents were copied as far away as north Germany and England. The present volume also contains major new biographical findings by Rodolfo Baroncini, and represents the first modern edition of most of the pieces.
    The series of publications will be edited by an editorial team headed by Jeffrey Kurtzman, in collaboration with Dennis Collins, Robert Kendrick, Steven Saunders, and John Whenham.

Abbreviations  ix
Acknowledgements   x
The Composer   Rodolfo Baroncini and Steven Saunders  xi
The Music and its Context  Robert L. Kendrick  xxxv
            Placing an Edition  xxxv
            Norms and Special Cases  xxxix
            Impact and Reception  xliv
            Performance Practice  xlvi
Sources  li
Editorial Methods  lii
Critical Report (with Texts and Translations)  lvii
Alessandro Grandi, Il quarto libro de motetti a due, tre, quattro, et sette voci (1616)
CMM 112-05, no. 1. Hæc est arbor dignissima  3
CMM 112-05, no. 2. Salvum me fac Domine  7
CMM 112-05, no. 3. O quam gloriosa facta es  10
CMM 112-05, no. 4. Bone Jesu verbum Patris  13
CMM 112-05, no. 5. Surge propera amica mea  16
CMM 112-05, no. 6. O crux ave spes unica   21
CMM 112-05, no. 7. Hic est præcursor dilectus  24
CMM 112-05, no. 8. Exulta et lætare terra   26
CMM 112-05, no. 9. O sacrum convivium  29
CMM 112-05, no. 10. Gloria Patri qui creavit nos  32
CMM 112-05, no. 11. Hymnum cantemus  34
CMM 112-05, no. 12. Hæc est virgo sapiens  39
CMM 112-05, no. 13. Deus qui nos in tantis periculis  43
CMM 112-05, no. 14. Plorabo die ac nocte  48
CMM 112-05, no. 15. Ave regina cælorum  54
CMM 112-05, no. 16. Diligam te Domine  59
CMM 112-05, no. 17. Factum est silentium  66

MISC 9    Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, & Stanley Boorman
          ISBN 978-1-59551-514-8 (2015)  xxiv + 854 pp.    $130.00

Musica Disciplina, Vol. 58 (2013)
    MD 58    MD, Vol. LVIII 2013.    ISSN: 0077-2461-58    456 pp.    (2013)    $80.00

JEAN MOUTON (ca. 1459-1522), Opera omnia. Edited by Andrew C. Minor and Thomas G. MacCracken. Vol.V Missa Sine nomine I & II, Credo a 4, Magnificat et Cantiones.
CMM 43-5    978-1-59551-511-7    1st ed.    ccxxxii+281 pp.    35 cm    2014    $199.00
     Contents and sample pages (PDF)

Jean Mouton is widely regarded as one of the most important composers contemporary with Josquin Des Prez. This volume contains two Masses discovered since Andrew C. Minor published thirteen such works to inaugurate the Complete Works edition, together with an independent Credo, nine Magnificats, and 25 chansons. Both Masses and six of the Magnificats appear in print here for the first time, while the chansons have never before been gathered together in one place. The extensive Critical Notes provide not only a complete collation of variants but also informative commentary on the sources, musical structure, and texts for each piece.

Acknowledgements  xi
Abbreviations  xii
Introduction  xiii
    Editorial Procedure: Music  xiii
    Editorial Procedure: Text  xiv
Critical Notes  xvii
    A. Music for the Mass Ordinary  xvii
    B. Magnificats  xxiii
    C. Chansons  lv
    D. Fragments and Works Probably by Other Composers   cxv
Appendix: Extant and Suggested Reconstructions of Cantus Firmi for Selected Compositions, 
    and Two Additional Polyphonic Fragments  cxxi

A. Music for the Mass Ordinary
    1. Missa Sine nomine (I)   3
    2. Missa Sine nomine (II)  39
    3. Credo  65
B. Magnificats
    4. Magnificat Primi toni, K. 936  81
    5. Magnificat Primi toni, K. 937/943  94
    6. Magnificat Primi toni, K. de-est  106
    7. Magnificat Tertii toni, K. 942  114
    8. Magnificat Quarti toni, K. 938  126
    9. Magnificat Quarti toni, K. 939  132
    10. Magnificat Quarti toni, K. 1154  142
    11. Magnificat Quinti toni, K. 940/291  152
    12. Magnificat Sexti toni, K. 941  163
C. Chansons
    13. Adieu mes amours  185
    14. Ce que mon coeur pense  188
    15. De tous regretz  193
    16. Dieu gard de mal, de deshonneur  197
    17. Du bon du coeur, ma chere dame  200
    18. En venant de Lyon  204
    19. Jamais, jamais, jamais  206
    20. Jamais n’aymeray machon  211
    21. Je le laray puisqui’il my bat  213
    22. La, la, la, l’oysillon du boys  215
    23. La rousée du moys de may (I)  218
    24. La rousé du moys de may (II)  222
    25. Le berger et la bergere  228
    26. Le grant desir d’aymer my tient (I)  232
    27. Le grant desir d’aymer my tient (II)  235
    28. L’ort vilain jaloux  237
    29. Mais que ce fust le plaisir d’elle  241
    30. Prens ton con, grosse garsse noyre  243
    31. Qui ne regrettroit le gentil Fevin  245
    32. Resjouyssés vous, bourgoyses  247
    33. Ve le cy, ve le la, ma mere  251
    34. Vray Dieu d’amours  256
    35. Vray Dieu, qu’amoureux ont de peine  260
D. Fragments and Works Probably by Other Composers
    36. Magnificat Quarti toni, K. 1154, alternate settings of verses 4, 8, and 10  269
    37. Fecit potentiam Quinti toni, K. 945  273
    38. J’ay mys mon cuer (Tu sola es mater purissima)   275
    39. Je ne puis  276
    40. Payne trabel  277

Hieronymus Praetorius, Collected Vocal Works, edited by Frederick K. Gable.
Vol. 3: Opus musicum III: Six Masses.
CMM 110-3      978-1-59551-510-0    1st ed.    li + 436 pp.    36 cm    2014    $219.00
     Contents and sample pages (PDF)

The Liber misssarum  (Opus musicum III, 1618), contains six impressive settings of the Ordinary of the Mass for five, six, and eight voices. The double-choir masses are based on his own motets for Christmas, Easter, and St. Michael’s Day; a fourth mass on his “Benedicam Dominum” a 6; and two on motets by Stephano Felis and Jacob Meiland—all are included in the edition. Praetorius blends the older motet-style with the new concerto-style polychorality by his word declamation, short motives, repetition of sections, sequencing of  ideas, and varieties of choir exchange.
   All the masses exhibit imaginative reworking of the motet models and contain much newly composed music rather than simply adapting the mass text to the models. The six settings represent the last stage of complete polyphonic masses by German seventeenth-century composers (another set of five was published by Christoph Demantius in 1619).

   Acknowledgments  ix
    Introduction  xi
   Sources and Editions  xix
   Editorial Methods   xxiii
   Critical Notes  xxvii
   Masses  xxvii
   Motet Models  xxxvii
   Texts and Translations  xli
   Plates  xlv

   Missa I. super Paratum cor meum à 5  3
   Missa II. super Benedicam Dominum à 6  54
   Missa III. super Non auferetur sceptrum à 6  112
   Missa IV. super Angelus ad pastores à 8  167
   Missa V. super Tulerunt Dominum meum à 8  227
   Missa VI. super Factum est silentium à 8  287

   1. Paratum cor meum, Stephano Felis  349
   2. Benedicam Dominum, Hieronymus Praetorius  356
   3. Non auferetur sceptrum, Jacob Meiland  368
   4. Angelus ad pastores, Hieronymus Praetorius  380
   5. Tulerunt Dominum meum, Hieronymus Praetorius  397
   6. Factum est silentium, Hieronymus Praetorius   418

CLAUDIN DE SERMISY (ca. 1490-1562), Opera omnia. Edited by Gaston Allaire and Isabelle Cazeaux, complete in 7 volumes. Vol. VII: 28 Motets Published by Attaingnant in 1542
CMM 52-7    978-1-59551-508-7    1st ed.    xliv+208 pp.    36 cm    2014    $139.00
     Contents and sample pages (PDF)

The 28 motets for 3–6 voices published in 1542 by the Parisian printer Attaingnant form the core of this last volume in the Sermisy Opera Omnia sub-series. Appearing here in a critical edition for the first time are several of Sermisy’s more famous motets, works that were widely reprinted in the sixteenth and seventeenth centuries. Equally noteworthy are Allaire’s comments on hexachordal transposition in these motets, which support his choices for musica ficta.

Preface                        ix
General Editor Preface         xvi
Examples of Hexachordal Analysis xviii
Sources                      xxi
Editorial Methods     xxvii
Critical Report           xxix
Motet with Six Voices
            1.         O Maria stans sub cruce       3
Motets with Five Voices
            2.         Regina caeli laetare  13
                        II. Resurrexit sicut dixit
            3. Quis est iste qui progreditur        20
                        II. Egredimini et videte filiae Sion  
            4. Quare fremuerunt gentes             29
                        II. Ego autem constitutus sum
                        III. Et nunc reges
Motets with Four Voices
            5. Verba mea 47
                        II. Adjuva me nequando miser audiam 
            6. Miserere mei, Domine      56
                        II. Miserere mei, Deus 
            7. Cantate Domino    68
                        II. Viderunt omnes termini terrae
                        III. Jubilate in conspectu regis Domini
            8. Domine Deus omnipotens            78
            9. Misericordias Domini        84
                        II. Universae viae tuae
                        III. Tribularer si nescirem
            10. Regi saeculorum I           97
            11. Nos qui vivimus  99
                        II. Super misericordia tua 
                        III. Similes illis fiant 
            12. Partus et integritas          117
            13. Astiterunt reges  119
                        II. Benedictus es Domine Deus 
            14. Audite reges         127
                        II. Inclinate aurem vestram ad illum 
            15. Gyrum caeli          135
                        II. Ego in altissimis habito 
            16. Aspice Domine     143
            17. Noe. Quem vidistis           148
                        II. Dicite, quidnam vidistis
            18. Alleluia. Angelus Domini             154
                        II. Et introeuntes in monumentum
            19. Veni, sancte spiritus        163
                        II. O lux beatissima
                        III. Lava, quod est sordidum
            20. Gaudent in caelis              172
                        II. O quam gloriosum est regnum
            21. Michael archangele          179
            22. Congratulamini mihi omnes       184
Motets with Three Voices
            23. Ave Sanctissima Maria    191
            24. Regi saeculorum II           194
                        II. Et beata viscera Mariae virginis
            25. Spes mea ab uberibus     197
            26. Euntes ibant et flebant    201
                        II. Tunc repletum est gaudio os nostrum
            27. Da pacem Domine           205
            28. Benedictum sit     207


JACQUET DE MANTUA (Jachet de Mantua) (1483-1559), Opera omnia. Edited by Philip T. Jackson and George Nugent, complete in 7 volumes. Vol.VII Motets for 3, 6, 7, & 8 Voices.
CMM 54-7    978-1-59551-507-0    1st ed.    xl + 111 pp.    35 cm    2013    $85.00
    Contents and sample pages (PDF)

Jacquet (Jachet) de Mantua, active between Josquin and Palestrina, was considered a leading master of sacred polyphonic composition by his contemporaries, but he is also sometimes confused with Jacquet de Berchem.  This collection of the remaining 9 motets for 3 voices, 4 for 6 voices, 1 each for 7 and 8 voices from the first half 16th century form a smaller sub-repertoire of works that were not written in the dominant scoring at the time, that for 4 or 5 voices.
  With the publication of this volume, the series is now complete with 7 volumes.