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   of Musicology

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Musica Disciplina

Corpus Mensurabilis Musicae (CMM)

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Selected New Titles from AIM

JEAN MOUTON (ca. 1459-1522), Opera omnia, edited by Andrew C. Minor and Thomas G. MacCracken.

CMM 43-5  Vol.V Missa Sine nomine I & II, Credo a 4, Magnificat et Cantiones.
     1st ed.     ccxxxii + 281 pp.
                          35 cm
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
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.
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.

CMM 52-7  Vol.VII 28 Motets Published by Attaingnant in 1542.
     1st ed.     xliv + 208 pp.
                          36 cm      2014                     $139.00
Contents and sample pages (PDF)


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

Musica Disciplina, vol. 57 (2012)

     MD 57 MD Vol. LVII 2012.  192 pp., (2013)  $70.00
                  ISSN: 0077-2461-57


                                Alan Gampel, Papyrological Evidence of Musical Notation from the 6th to the 8th
Luisa Nardini, “God is Witness”: Dictation and the Copying of Chants in Medieval
Karen Desmond, Texts in Play: The Ars Nova and Its Hypertexts              81
João Pedro d’Alvarenga, A Neglected Anonymous Requiem Mass of the Early Sixteenth
          Century and Its Possible Context


Edited by Judith A. Peraino.
                       ISBN 978-1-59551-509-4 (2013)    xiv + 309 pp.     $60.00


JACQUET DE MANTUA (Jachet de Mantua) (1483-1559), Opera omnia, edited by Philip T. Jackson and George Nugent, complete in 7 volumes.
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.

CMM 54-7  Vol.VII Motets for 3, 6, 7, & 8 Voices.
978-1-59551-507-0      1st ed.     xl + 111 pp.
                          35 cm
      2013                       $85.00
Contents and sample pages (PDF)


ANDREAS DE SILVA (last quarter, 15th-first third, 16th c.), Opera omnia, edited by Winfried Kirsch in 3 volumes.

CMM 49-3  Vol.III Masses, Magnificat, Motets, & Chanson.
     1st ed.     xxix + 277 pp.
                          36 cm
Contents and sample pages (PDF)

The 6 parody masses, Magnificat, 4 motets, and untexted chanson in this volume complete the publication of the works of this composer of Spanish origin. Active in the Papal court in Rome in the first third of the 16th century, De Silva was highly regarded as one of Josquin’s successors, “who taught the world how music should be written.”


THOMAS CRECQUILLON (ca. 1510-ca. 1557), Opera omnia, edited by Barton Hudson, Mary Tiffany Ferer, and Laura Youens; with Mary Beth Winn. In 20 volumes.

Vol.XVIII Cantiones quatuor vocum.

     CMM 63-18  978-1-59551-504-9      1st ed.     lxxxviii+118 pp.
                           36 cm

                                CONTENTS: Chansons in Four Voices: 117. Se j’ay l’amour de celle ou je pretends; 118. Si au partir me convient congé prendre; 119. Si des haulx cieulx qui a gouvernement; 120a. Si la beaulté se perist en peu d’heure; 120b. Response: Si grant beaulté se perist en peu d’heure; 121. Si l’on me monstre affection; 122. Si mon service a merité; 123. Si mon travail vous peult donner plaisir; 124. Si n’attemprés ces yeulx ou mon ceur ard; 125. Si parvenir je puis a mon attente; 126. Si pour amans la lune est importune; 127. Si pour aymer et desirer; 128. Si Salamandre en flamme vit, c’est peu; 129. Si variable oncques fut damoiselle; 130. Soit bien ou mal, contrainct suis de t’aymer; 131. Souvent je m’esbas et mon cueur est marry; 132. Tant plus je pense estre pres de mon bien; 133. Tant qu’en amours tu seras ma maistresse; 134a. Tant seulement ton amour je demande; 134b. Response: Tant seulement ton repos je desire; 135. Tiens noz deulx cueurs par ung voloir unis; 136. Ton gentil corps en beaulté souveraine; 137a. Toutes les nuictz que sans vous je me couche; 137b. Response: Qu’est il besoing chercher toutes les nuictz; 137c. Replique: Tel est le tamps, il s’en fault contenter; 138. Ung doulx nenny avec ung doulx soubrire; 139. Ung gay bergier prioit une bergiere; 140. Ung souvenir en fermeté constante; 141. Response: Ung sy tresgrand eur preveoir; 142. Veu le grief mal que longuement j’endure; 143. Voiant souffrir celle qui me tourmente; 144. Vous avez tort, chascun vous blasmera; 145. Vous avez tort de luy estre contraire; 146. Voyez le tort d’Amour et de Fortune; APPENDIX 147. Ut flos in septis secretus nascitur hortis; 2. pars: Sponte sua tellus florem producit amoenum


THOMAS CRECQUILLON (ca. 1510-ca. 1557), Opera omnia, edited by Barton Hudson, Mary Tiffany Ferer, and Laura Youens; with Mary Beth Winn. In 20 volumes.

With the publication of this volume, the series is now complete with 20 volumes.

Vol.XX Cantiones trium, sex, septem, et duodecim vocum.

     CMM 63-20   978-1-59551-505-6      1st ed.     cxiv+123 pp.
                           36 cm

CONTENTS: Chansons in Three Voices: 174. A la fontaine du prez; 175. Amour, hellas, on a pas d’avantaige (opus dubium); 176. Avant l'aymer je l'ay voulu cognoistre; 177. C’est a grand tort que moy povre j’endure; 178a. Content desir qui cause ma doleur = Du faux desir qui cause ma douleur; 178b. Response: Vivre ne puis content sans ta presence; 179. De moins que riens à peu l’on peut venir; 180. En languissant je consomme mes jours; 181. Hastés vous de moy faire grace; 182. Je suis aymé de la plus belle (1); 183. Je suis aymé de la plus belle (2); 184. Jour desiré, qui te pourra attendre; 185. Le trop long temps qu’ay esté sans te veoir; 186. L’oeil dict assés, s’il estoit entendu = Mon cri, Seigneur, soit de toi entendu; 187. O combien est malheureux le desir; 188. Or vray Dieu, qu’il est enuyé (opus dubium); 189. Si me tenez tant de rigueur = Sentant du peché la rigueur; 190. Touttes les nuicts que sans vous je me couche; 191. Vostre rigueur veult doncques que je meure = Donne secours, Seigneur, il en est heure; Chansons in Six Voices: 192. Retirer il me fault; 193. Si me tenez tant de rigueur; 194. Petite camusette; Chanson in Twelve Voices: 195. Belle sans per ou gist tout mon espoir; INDEX TO THE EDITION: Masses; Motets;  Secular Works


HEINRICH ISAAC (ca. 1450-1517), Opera omnia, edited by Edward R. Lerner.

Vol. X: Motets, Part I

     CMM 65-10 978-1-59551-501-8            1st ed., 2011
lxx+176 pp.        36 cm     

CONTENTS: 1. Accessit ad pedes; 2. Alma redemptoris mater; 3. Angeli, Archangeli; 4. Anima mea liquefacta est; 5. Argentum et aurum; 6. Ave Ancilla Trinitatis; 7. Ave Regina caelorum; 8. Ave sanctissima Maria; 9. Benedic, anima mea, Domino; 10. Christus surrexit; 11. (Quid ...) Credidi, propter quod locutus sum; 12. Cum esset desponsata; 13. Defensor noster aspice; 14. Ecce sacerdos magnus; 15. Gaude Dei Genetrix; 16. Gratias refero tibi; 17. Hodie Deus homo factus; 18. Hodie scietis, quia veniet Dominus; 19. In convertendo Dominum; 20. Inviolata, integra, et casta es Maria; 21. Judea et Jerusalem; 22. Nil prosunt lacrimae; 23. O decus ecclesiae Virgo; 24. O Maria, Mater Christi; 25. Optime divino date munere pastor ovili

HEINRICH ISAAC (ca. 1450-1517), Opera omnia, edited by Edward R. Lerner.

Vol. XI: Motets, Part 2

     CMM 65-11 978-1-59551-502-5            1st ed., 2011 
     xciv+208 pp.  
     36 cm     

CONTENTS: 26. Oratio Jeremiae Prophetae; 27. Parce, Domine; 28. Prophetarum maxime; 29. Quae est ista; 30. Quem tremunt; 31. Qui paracletus diceris; 32. Quid retribuam tibi; 33. Quis dabit capiti meo aquam; 34a. Quis dabit pacem populi timenti; 34b. Illumina oculos meos (contrafactum); 35. Recordare, Jesu Christe; 36. Regina caeli; 37a. Rogamus te piisima virgo maria; 37b. La Mi La Sol (textless); 38. Salve Regina (1); 39. Salve Regina (2); 40. Sancta Maria Virgo; 41. Sancti spiritus assit nobis gratis; 42. Sive vivamus; 43. Sol occasum; 44. Spiritus sanctus; 45. Sub tuum praesidium; 46. Sustinuimus pacem; 47. Te mane laudum carmine; 48. Tota pulchra es; 49. Tristitia vestra; 50. Virgo prudentissima quo progederis; 51a. Virgo prudentissima quae pia; 51b. Christus filius Dei (contrafactum)

The publication of these 52 motets in two volumes helps to complete our picture of the voluminous musical legacy of Flemish composer Heinrich Isaac (1450-1517). Many of these works are published here in modern notation for the first time. Although these motets are not commonly known today, they were widely circulated in Isaac’s time. Some appeared in editions printed by Petrucci as early as 1506, and others appeared in volumes printed by Rhao, Petreius, and Montanus & Nauber. Some of these motets only appeared in manuscripts such as Berlin MS 40021 or the Regensburg collection of manuscripts from 1570-80. Under the supervision of Isaac’s student Ludwig Senfl, many of these motets were copied or printed well into the sixteenth century.

Although Isaac is perhaps best known for his monumental collection of Mass Ordinary and Proper motets, the Choralis Constantinus, these isolated motets, although fewer in number, are no less important in allowing us to view and judge his compositional mastery. Their texts range from the strictly liturgical to the spiritual Leise to Latin aphoristic poems in hexameter. This diversity points to their wide use both within and outside of the traditional liturgy. As such, they provide us with a much broader view of Isaac’s musical world.


ALESSANDRO GRANDI, Opera Omnia, edited by Jeffrey Kurtzman, with Dennis Collins, Robert Kendrick, and Steven Saunders.

Vol. 1: Il primo libro de motetti, edited by Dennis Collins and Steven Saunders.

    CMM 112-1   978-1-59551-503-2      1st ed.     lvi+137 pp.
                           35 cm      2011                     $110.00
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. His first published music, the Primo libro de motetti a due, tre, quattro, cinque, & otto voci, con una Messa à quattro (Venice, 1610), contains two fairly conventional compositions, a polychoral motet and a four-voice setting of the Ordinary of the Mass. The core of the collection, however, is a set of innovative few-voice motets in which Grandi introduces a variety of novel formal schemes and compositional techniques. He juxtaposes short motives in ways that suggest both dialogue techniques and the concerato interplay of voices common in the lighter secular genres. Several motets employ parlante subjects that recall the clipped diction of Monterverdi’s fourth and fifth book of madrigals, and Grandi’s quasi-canonic entries built over harmonic sequences evoke duet passages from the continuo madrigals that close Monteverdi’s Fifth Book. In short, Grandi’s Primo libro de motetti shows that he helped to forge the concertato style in the early years of the seventeenth-century.

This new series of publications will be edited by an editorial team headed by Jeffrey Kurtzman, in collaboration with Dennis Collins, Robert Kendrick, and Steven Saunders.


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