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Original Articles

JACQUES MODERNE'S ‘PARANGON DES CHANSONS’

A Bibliography of Music and Poetry at Lyon 1538–1543

Pages 1-90 | Published online: 02 Jan 2013

References

  • La Bibliothèque d'Antoine du Verdier, Lyon, 1585, p.1081. Ed. R. de Juvigny, Les Bibliothèques Françaises, Paris, 1772, V, p. 376.
  • S.F. Pogue, Jacques Moderne: Lyons Music Printer of the Sixteenth Century, Geneva, 1969. Reviewed by the present author in J. A. M.S., XXIV/1, 1971, pp.126–31.
  • F. Dobbins, ‘Doulce memoire—A Study of the Parody Chanson’, P.R.M.A., XCVI, 1969, p.90.
  • A Champollion-Figeac, Les poésies de François Premier, Paris, 1847.
  • F. Dobbins, art.cit., p. 85.
  • A.C. Silliman, ‘Response & Replicque in chansons published by T. Susato’, Revue Belge de Musicologie, xvi, 1962, p. 36 sqq.
  • P. Chaillon, ‘Le Chanso nnier de Françoise’, Revue de Musicologie, XXXV, 1953, pp. 1–31; F. Lesure, ‘Eléments populaires dans la chanson française au début du XVIe siècle’, Musique et Poésie du XVIe siècle, Paris, 1954, pp. 169–84; H. M. Brown, ‘The Chanson rustique: Popular Elements in the 15th-and 16th-century Chanson’, J.A.M.S., XII, 1959, pp. 16–26.
  • F. Lesure, ibid., p. 173; K.J. Levy ‘Vaudeville, vers mesuré et airs de cour’ ibid., pp.185–201.
  • F. Dobbins, art, cit., pp.100–101.
  • Similar examples are given in H.M. Brown's monograph on the Parisian chanson—J. Haar (ed.), Chanson & Madrigal 1480–1530, Harvard, 1964, pp. 168–172.
  • Eustorg de Beaulieu, Les Divers Rapportz, Lyon, 1537, f.47: ed. M. A. Pegg, Geneva, 1964.
  • S.1.n.d. Facs. edn. E. Picot, Mǎcon, 1909.
  • G. Paris & A. Gevaert, Chansons du XVe siècle, Paris, 1875.
  • T. Gerold, Le Manuscrit de Bayeux, Strasbourg, 1921.
  • Notably those found in the Italian collections of Antico (RISM 15206 and 15361) and their German reprints of Petreius (15412) and Rhau (15428). Attaingnant's 42 Chansons à3 (15294) seems to represent an original repertoire, but later collections such as Attaignant's 31 Chansons à3 (Eitner 1535c), Gardane's ‘Janequin’ (154113) and ‘Archadelt’ (154217) volumes, Susato's compositions of 1544 & 1552 and Gervaise's of 1550 generally use the cantus prius factus or reduction principle, suppressing the altus (contratenor).
  • e.g. Those of Gardane (153921), Gero 1541, Susato 1544: (c.f. RISM 15456–7' (c1555)24 and 157115).
  • Instrumental Music printed before 1600, Harvard Univ. Press, 1968.

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