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Editions and papers
on this site:

Complete Works of Gilles Mureau

Amiens MS 162 D

Uppsala MS 76a

Homepage
Peter Woetmann Christoffersen


Papers on

Basiron’s chansons
Busnoys & scibes PDF
Caulaincourt
Chansons in Fa-clefs
Chansoner på nettet
Fede, Works
Dulot’s Ave Maria
Open access 15th c.
MS Florence 2794

 

 
Bibliography of editions and literature for Ockeghem's »Prenez sur moi«

(ordered chronologically)

Copenhagen Chansonnier c. 1470

Copenhagen, The Royal Library, MS Thott 291 8°, f. 39v: Anonymous (3v ex 1)

Dijon Chansonnier c. 1470

Dijon, Bibliothèque Municipale, Ms. 517, f. (6a): ? (3v ex 1; only in index)

Petrucci 1504

Petrucci, Canti C, Venezia 1504, f. 167v: Okenghem (3v ex 1)

Mantua c. 1506

Mantua, Palazzo Ducale, intarsia panel: Jo. Okenghem (3v ex 1v)

Heyden 1537

Sebald Heyden, Musicae. Nürnberg 1537, p. 34: Okenghem (3v ex 1)

Heyden 1540

Sebald Heyden, De arte canendi. Nürnberg 1540, p. 39: Okeghem (3v ex 1)

London MS c. 1540

London, British Library, MS Add. 4911 (Scotland, c. 1540), f. 41: Anonymous (3v ex 1)

Glarean 1547

Henricus Glareanus, Dodekachordon. Basel 1547, p. 454: Okenheim (3v ex 1)

Faber 1553

Gregor Faber, Musices practicae erotematum libri II,Basel 1553, pp. 152-153: Okeghem (3v ex 1)

Wilphlingseder 1563

Ambrosius Wilphlingseder, Erotemata musices practicae,Nürnberg 1563, pp. 57-63: Okhenhemius (3v ex 1), (edition)

Paix 1587

Jacob Paix, Selecta artificiosa et elegante fugae, Launingen 1587 (2nd ed. 1590), no. 15: Okenhemii (3v ex 1), (edition)

Hawkins 1776

John Hawkins, A General History of the Science and Practice of Music,Vol. II, London 1776, pp. 471 ff (edition)

Burney c. 1780

Charles Burney (edition), London, British Library, MS Add. 11584, f. 29v (after Glarean 1547)

Burney 1782

Charles Burney, A General History of Music, Vol. II, London 1782, pp. 475 ff (edition)

Forkel 1801

Johann Nicolaus Forkel, Allgemeine Geschichte der Musik, Bd. II, Leipzig 1801, pp. 528-533 (edition)

Busby 1819

Thomas Busby, A General History of Music.Vol. I, London 1819, pp. 430 ff (edition)

Kiesewetter 1829

Rafael Georg Kiesewetter, ‘Die Verdienste der Niederländer um die Tonkunst’ in Koninklijk-Nederlandsche Institut, Verhandlingen over de vraag: Welke verdiensten ..., Amsterdam 1829, Anhang, pp. 22 ff (edition)

Fétis 1840

F.-J. Fétis, Revue et gazette musicale, 1840, p. 159 (edition)

Fétis 1864

François-Joseph Fétis, Biographie universelle des musiciens et bibliographie générale de la musique Vol. 6 (2nd ed.) Paris 1864, p. 363 (edition)

Fröhlich 1874

Joseph Frölich, Beiträge zur Geschichte der Musik der älteren u. neuren Zeit II, Würzburg 1874, pp. 122 ff (edition)

Riemann 1878

Hugo Riemann, Studien zur Geschichte der Notenschrift, Leipzig 1878, p. 92 (edition)

Ritter 1880

Frederic Louis Ritter, The History of Music, 2. ed. London 1880, App. pp. 4 ff (edition)

Ambros 1882

A.W. Ambros, Geschichte der Musik V (Auserwählte Tonwerke der berühmtesten Meister des 15. und 16. Jahrhunderts. Nach unvollendet hinterlassenem Notenmaterial herausgegeben von Otto Kade), Leipzig 1882; Notenanhang, no. 6 (edition)

Glarean 1888

Peter Bohn (ed.), Glareani Dodekachordon (Publikationen älterer praktischer und theoretischer Musikwerke 16) Leipzig 1888, p. 454 (edition)

Riemann 1907

Hugo Riemann, Handbuch der Musikgeschichte II, Leipzig 1907, pp. 236 ff (edition)

Droz 1927

E. Droz, G. Thibault et Y. Rokseth, Trois Chansonniers Français du xve siècle.Paris 1927, no. 1 (edition)

Jeppesen 1927

Knud Jeppesen (ed.), Der Kopenhagener Chansonnier. Copenhagen 1927, no. 33 (21965 New York, with new remarks; edition)

Woodridge 1932

H.E. Woodridge, The Polyphonic Period (Oxford History of Music II), London 1932, pp. 65-66 (edition)

Finney 1935

T.M. Finney, A History of Music, New York 1935, p. 134 (edition)

Levitan 1937

Joseph S. Levitan, ‘Ockeghem’s Clefless Compositions’, The Musical Quarterly 23 (1937), pp. 440-464 (incl. edition)

Disertori 1954

B. Disertori (ed), Le Frottole nell'edizione principe di Ottaviano Petrucci I, Milano 1954, no. 1 (edition)

Dahlhaus 1960

Carl Dahlhaus, ‘Ockeghems »Fuga trium vocum«’, Die Musikforschung 13 (1960), pp. 307-310

Glarean 1965

Clement A. Miller (ed.), Heinrich Glarean, Dodecachordon: Translation, Transcription and Commentary. American Institute of Musicology 1965, p. 52 (edition)

Reese 1968

G. Reese, ‘Musical compositions in Renaissance intarsia’ in John L. Lievsay (ed.), Medieval and Renaissance Studies (Medieval and Renaissance Series, nr 2) Durham 1968, pp. 74-97 (incl. edition)

Dart 1969

Thurston Dart (ed.), Invitation to Medieval Music II,London 1969, no. 6 (edition)

Bockholdt 1971

R. Bockholdt, ‘Französische und niederländische Musik des 14. und 15. Jahrhunderts’ in T.G. Georgiades (ed.), Musikalische Edition im Wandel des historischen Bewusstseins, Kassel 1971, pp. 149-173 (editions)

Heyden 1972

Sebald Heyden (ed. Clement A. Miller), De arte canendi: Translation and Transcription. American Institute of Musicology 1972 (incl. edition)

Scherliess 1972

Volker Scherliess, Musikalische Noten auf Kunstwerken der italienischen Renaissance (Hamburger Beitrage zur Musikwissenschaft 8) Hamburg 1972, pp. 79-81 (edition)

Besseler/Gülke 1973

Heinrich Besseler und Peter Gülke, Schriftbild der mehrstimmigen Musik. (Musikgeschichte in Bildern III.5), Leipzig 1973, pp. 126-127

Urquhart 1988

Peter Urquhart, Canon, partial signatures and musica ficta in works by Josquin Des Prez and his contemporaries. Dissertation, Harvard University 1988

Perkins 1990

Leeman L. Perkins, ‘Ockeghem‘s Prenez sur moy: relections on Canons, Catholica, and Solmization’, Musica Disciplina 44 (1990) pp. 119-183 (incl. edition)

Fallows 1992

David Fallows, ‘Prenez sur moy: Ockeghem’s tonal pun’, Plainsong and Medieval Music 1 (1992), pp. 63-75 (incl. edition)

Goldberg 1992

Clemens Goldberg, Die Chansons Johannes Ockeghems. Ästhetik des musikalischen Raumes (Neue Heidelberger Studien zur Musikwissenschaft, Bd. 19) Laaber 1992 (incl. edition)

Ockeghem 1992

J. Ockeghem (ed. Richard Wexler with Dragan Plamenac), Collected Works III: Motets and Chansons. Philadelphia (AMS) 1992, no. 15 (edition)

Dean 1996

Jeffrey Dean, ‘Okeghem’s attitude towards modality: Three-mode and eight-mode typologies’ in Ursula Günther, Ludwig Finscher, and Jeffrey Dean (eds.): Modality in the music of the fourteenth and fifteenth centuries. Modalität in der Musik des 14. und 15. Jahrhunderts (Musicological studies & documents 49). Neuhausen-Stuttgart 1996, pp. 203-246

Urquhart 1996

Peter Urquhart, ‘Three Sample Problems of Editorial Accidentals in Chansons by Busnoys and Ockeghem’ in J.A. Owens & A. Cummings (eds.), Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood (Detroit Monographs in Musicology/Studies in Music, No. 18), Warren, MI, 1996, pp. 465-481

Benthem 1997

Jaap van Benthem, ‘‘Prenez sur moy vostre exemple’. Signae, text and cadences in Ockeghem’s Prenez sur moy and Missa Cuiusvis toni’, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 47 (1997), pp. 99-118 (incl. edition)

Urquhart 1997

Peter Urquhart, ‘Calculated to Please the Ear: Ockeghem’s Canonic Legacy’, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 47 (1997), pp. 72-98

Fallows 1999

David Fallows, A Catalogue of Polyphonic Songs, 1415-1480. Oxford 1999, pp. 325-327

Granau 1999

Martin Granau, ‘Den uløselige kanon. Om Ockeghems Prenez sur moy’, CHM-nyt 23 (1999) no. 3, pp. 4-9, and no. 4 pp. 4-7 and 14-15

Morgan 2002

Mary Kathleen Morgan, The Three-Voice Chansons of Johannes Ockeghem and Antoine Busnois: Approaches to Form, Process, and Musical Structure in the Chanson ca. 1470. Diss. Univ. of Pennsylvania 2002

Urquhart 2004

Peter Urquhart, ‘Another Impolitic Observation on Absalon, fili mi’, The Journal of Musicology 21 (2004), pp. 343-380

Bryan 2008

John Bryan, ‘‘Very sweete and artificial’: Lorenzo Costa and the earlist viols’, Early Music 36 (2008) pp. 1-17

Mengozzi 2008

Stefano Mengozzi, ‘‘Clefless’ notation, counterpoint and the fa-degree’, Early Music36 (2008) pp. 51-64

Christoffersen 2009

‘Prenez sur moi vostre exemple: The ‘clefless’ notation or the use of fa-clefs in chansons of the fifteenth century by Binchois, Barbingant, Ockeghem and Josquin’, Danish Yearbook of Musicology 37 (2009), pp. 13-38

Amici 2011

Beth Anne Lee-De Amici, ‘“Et le moyen plain de paine et tristesse”: Solution, Symbology, and Context in Ockeghem's “Prenez sur moi”', The Journal of Musicology 28 (2011), pp. 369-417

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