Jablonski, Marek (Michael)


L. Matthews and P. Merkley



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L. Matthews and P. Merkley: ‘Iudochus de Picardia and Jossequin Lebloitte dit Desprez: the Names of the Singer(s)’, JM, xvi (1998), 200–226

H. Meconi: ‘Another Look at Absalon’, TVNM, xlviii (1998), 3–29

T.H. Steele: ‘Tonal Coherence and the Cycle of Thirds in Josquin‘s Memor esto verbi tui’, Tonal Structures in Early Music, ed. C.C. Judd (New York, 1998), 155–81

M. Steib: ‘A Study in Style, or Josquin or not Josquin: the Missa Allez regretz Question’, JM, xvi (1998), 519–44

D. Fallows: ‘Approaching a New Chronology for Josquin: an Interim Report’, Schweizer Jb für Musikwissenschaft, new ser., xix (1999)

P.A. and L.L.M. Merkley: Music and Patronage in the Sforza Court (Turnhout, 1999)

K. Pietschmann: ‘Ein Graffito von Josquin Desprez auf der Cantoria der Sixtinischen Kapelle’, Mf, lii (1999), 204–7

R. Sherr, ed.: The Josquin Companion (Oxford, forthcoming) [incl. R.C. Wegman: ‘Who was Josquin?’; B.J. Blackburn: ‘The Masses based on Popular Songs and Solmization Syllables’; A.E. Planchart: ‘The Masses on Plainsong Cantus Firmi’; M.J. Bloxam: ‘The Masses based on Polyphonic Songs’; R. Sherr: ‘Mass Sections’; R. Sherr: ‘The Missa Da pacem and the Missa Allez regretz’; L. Finscher: ‘The Four-Voice Motets’; J. Milsom: ‘The Motets for Five or More Voices’; R. Sherr: ‘Two Hymns and Three Magnificats’; L. Litterick: ‘Three- and Four-Voice Chansons’; L. Bernstein: ‘Chansons for Five and Six Voices’; R. Sherr: ‘Three Settings of Italian Texts and Two Secular Motets’; J. Milsom: ‘Analysing Josquin’; P. Macey: ‘Josquin and Musical Rhetoric: Miserere mei, Deus and Other Motets’; W. Elders: ‘Symbolism’; D. Fallows: ‘Afterword: Josquin's Historical Position; New Directions in Josquin Studies’; P. Urquhart: ‘List of Works’; P. Urquhart: ‘Discography’]


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