Jablonski, Marek (Michael)



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G. Reese and J. Noble: ‘Josquin Desprez’, The New Grove High Renaissance Masters (London, 1984), 1–90 [revised from Grove6]

J. van Benthem: ‘The Scoring of Josquin's Secular Music’, TVNM, xxxv (1985), 67–85, 90–96

H.M. Brown: ‘Josquin and the Fifteenth-Century Chanson’, Proceedings of the British Academy, lxxi (1985), 119–58

W. Elders: ‘Josquin's Gaudeamus Mass: a Case of Number Symbolism in Worship’, Studi musicali, xiv (1985), 221–33

D. Fallows: ‘The Performing Ensembles in Josquin's Sacred Music’, TVNM, xxxv (1985), 32–66

C.C. Judd: ‘Some Problems of Pre-Baroque Analysis: an Examination of Josquin's Ave Mariavirgo serena’, MAn, iv (1985), 201–39

J. Noble: ‘The Function of Josquin's Motets’, TVNM, xxxv (1985), 9–22

W.F. Prizer: ‘Music and Ceremonial in the Low Countries: Philip the Fair and the Order of the Golden Fleece’, EMH, v (1985), 113–53

F. Robin: ‘Josquin des Prés au service de René d'Anjou?’, RdM, lxxi (1985), 180–81

R. Stewart: ‘Voice Types in Josquin's Music’, TVNM, xxxv (1985), 97–189

L.F. Bernstein: ‘Chansons Attributed to both Josquin des Prez and Pierre de La Rue: a Problem in Establishing Authenticity’, Josquin Symposium: Utrecht 1986, 125–52

N. Böker-Heil: ‘Josquin und Verdelot: die Konfliktzuschreibungen’, ibid., 55–8

T. Braas: ‘The Five-Part Motet Missus est angelus Gabriel and its Conflicting Attributions’, ibid., 171–83

H.M. Brown: ‘Notes Towards a Definition of Personal Style: Conflicting Attributions and the Six-Part Motets of Josquin and Mouton’, ibid., 185–207

A. van Campen: ‘Conflicting Attributions of Credo Vilayge II and Credo Chascun me crie’, ibid., 93–8



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