Bibliography

Books

Bossuyt, Ignance. De Viaamse Polyfonie (Flemish Polyphony).Leuven: Davidsfonds, 1994.

Bossuyt, Ignance. Die Kunst der Polyphonie: Die Flamische Musik von Guillame Dufay bis Orlando di Lasso (The Art of Polyphony: Flemish Music from Guillame Dufay to Roland de Lassus).Mainz: Atlantis, 1997. 

Evdokimova, Julija and Natalja Simakova. Muzyka epohi Vozrozdenija: Cantus Prius Factus I Rabota s Nim (Music of the Renaissance: Cantus Prius Factus and its Usage in History). Moskva: Muzyka, 1982.

Gombosi, Otto Johannes. Jacob Obrecht, Eine Stilkritische Studie, Mit Einem Notenanhang, Enthaltend 31 Bisher Unveroffentlichte Kompositionen aus der Zeit Zwischen 1460-1510 (Jacob Obrecht, A Critical Study of His Style, With an Appendix Containing 31 Previously Unpublished Compositions from the Period Between 1460-1510). Wiesbaden: Sandig, 1972.

Haass, Walter. Studien zu den L’homme Arme-Messen des 15 und 16 Jahrhunderts (Studies on the L’Homme Arme Masses of the 15^th and 16^th Centuries).Regensburg: Bosse, 1984. 

Hoorn, L.G. Jacob Obrecht. Netherlands: Martinus Nijhoff, 1968.

Kelly, Thomas Forrest. Plainsong in the Age of Polyphony.New York:CambridgeUniversity, 1992.

Konnov, Vladmir. Niderlandskie Kompozitory XV-XVI: Populjarnaja Monografija (The Netherlandish Composers of the 15^th and 16^th Centuries: A Popular Monograph).Leningrad: Muzyka, 1984.

Lockwood, Lewis. Music in Renaissance Ferrara, 1400-1505: The Creation of a Musical Center in the Italian Renaissance. Cambridge: Clarendon, 1984. 

Picker, Martin. Johannes Ockeghem and Jacob Obrecht: A Guide to Research.NewYork and London: Garland Publishing, INC., 1988.

Planchart, Alejandro Enrique. Missae Caput. New Haven:YaleUniversity, 1964.

Slim, H. Colin. The Prodigal Son at the Whores’: Music, Art, and Drama.Irvine:University of California, 1977. 

Strohm, Renhard. Muisc in Late Bruges. Oxford: Clarendon Press, 1985.

Wegman, Rob C. Born for the Muses: The Life and Masses of Jacob Obrecht.Oxford:Clarendon Press, 1994.

Dissertations

Baker, Norma Klein. “An Unnumbered manuscript of Polyphony in the Archives of the Cathedral of Segoviailt’s Provenance.” Ph.D. dissertation: University of Maryland, 1978.

Jickeli, Carl F. “Textlose Kompositionen um 1500 (Untexted Compositions Around 1500).” Ph.D. dissertation: University of Munchen, 1989.

Lindsey, Mack Clay. “The Anonymous Mass Cycles in the Annaberg Choirbooks.” MM dissertation:IndianaUniversity, 1974.

McMurty, William M. “The BritishMuseum Manuscript Additional 35087: A Transcription of French, Italian, and Latin Compositions with Concordance and Commentary.” Ph.D. dissertation: NorthTexasStateUniversity, 1967.

Nagle, Mary Ellen. “The Structural Role of the Cantus Firmus in the Motets of Jacob Obrecht.” Ph.D. dissertation: University of Michigan, 1972.

Nowotny, Rudolf. “Mensur, Cantus Firmus Satz, in den Caput-Messen Von Dufary, Ockeghem, und Obrecht ( Mensuration, Cantus Firmus and Setting, In the Caput Masses of Dufay, Ockeghem, and Obrecht.” Ph.D. dissertation; University of Munchen, 1970.

Ostrem, Eyolf. “Noen Aspekter ved Form og Struktur I Jacob Obrecht’s Musikk (Some Aspects of Form and Structure in Jacob Obrecht’s Music).” 80 point thesis: UppsalaUniversity, 1990.

Santarelli, Cristina. “Quattro Messe Fors Seulement (Four Fors Seulement Masses).” MA dissertation:University of Torino, 1979.

Schmidt, Henry Louis. “The First Printed Lute Books: Francesco Spinacino’s Intabulatura de Lauto, Libro Primo and Libro Secondo (Venezia: Petrucci, 1507).” Ph.D. dissertation: University of North Carolina, 1969.

Shrock, Dennis. “Conductor’s Analysis of the Missa L’homme Arme by Jacob Obrecht.” DM dissertation: IndianaUniversity, 1983.

Editions of Music

Obrecht, Jabob. New Obrecht Edition, edited by Chris Maas. Utrecht: Vereniging Voor Nederlandse Muziekgeschiedenis, 1983.

Obrecht, Jacob. Werken, 7 vols., edited by Johannes Wolf. Amserdam: Gregg International Publishers, 1968.

Articles

Baroncini, Rodolfo. “Se CantaDalliCantoriOvero se SonaDalliSonadori: Voci e Strumentitra Quattro e Cinquecento (Se CantaDalliCantoriOvero se SonaDalliSonadori: Voices and Instruments in the 15th and 16th Century).” Rivistaitalianadimusicologia 32 (1997): 327-365.

Bloxam, Mary Jennifer. “Plainsong and Polyphony for the Blessed Virgin: Notes on Two Masses by Jacob Obrecht.” The Journal of Musicology 12 (1994): 51-75.

Cumming, Julie Emelyn. “Born for the Muses: The Life and Masses of Jacob Obrecht (review).” Early Music America: The Magazine of Historical Performance 2

(1996): 33-35.

Elders, Willem. “Jacob Obrecht (review).” Tijdschrift van der Vereniging Voor Nederladnse Muziekgeschiendenis XXI (1969): 130-133.

Fallows, David. “Johannes Ockeghem and Jacob Obrecht: A Guide to Research (review).” Music and Letters 70 (1989): 247-249.

Fitch, Fabrice J. “ ‘O Tempra! O Tempra!’ A New Recording of Obrecht’s Missa Maria Zart.” Early Music 24 (1996): 485-495.

Heidrich, Jurgen. “Die MissaBeata progenies imChorbuch Jena 32: EinebisherunerkannteKomposition Jacob Obrechts? (The Mass Beata progenies in the Jena32 choir book: Until now, an unknown composition by Jacob Obrecht?).”ArchivfurMusikwissenschaft 57 (2000): 151-171.

Hudson, Barton. “Two Ferrarese masses by Jacob Obrecht.” The Journal of Musicology 4 (1985): 276-302.

Kirsch, Winfried. “Guillaumae Dufay, Johannes Ockeghem, Jacob Obrecht: Misae Caput.” Die Musikforschung 20 (1967): 231-232.

Leszczynska, Adnieszka. “Melodyka Niderlandzka W Swietle Mistrzostwa Josquina, Obrechta I La Rue: Studia I Analizy Porownawcze (Melodies of the Low Countries in the Works of Josquin, Obrecht, and La Rue: Studies and Comparative Analyses).” Muzyka: Kwartalnik Instytutu Sztuki Polskiej Akademi Nauk 40 (995): 110-113.

Noblitt, Thomas. “Criteria for Choosing Between Stemmatically Equivalent Texts.” In L’edizione Critica Tratesto Musicale e Testo Letterario, 213-232. LuccaItaly: Libera Musicale Italiana, 1995.

Perz, Miroslaw. “Der Grune Codex der Viadrina. Eine Wenig Beachtete Quelle Zur Musik des Spaten 15 und fruhen 16 Jahrhunderts in Deutschland (review) (The Green Codex of the Viadrina. A Little-noticed Source for Music of the Late 15^thand Early 16^th Centuries in Germany (review)).” Muzyka XVI (1971): 116-118.

Starr, Pamela. “Born for the Muses: The Life and Masses of Jacob Obrecht (review).” Journal of the American Musicological Society 50 (1997): 191-200.

Taruskin, Richard. “Johannes Ockeghem and Jacob Obrecht: A Guide to Research (review).” Quarterly Journal of the Music Library Association 47 (1990): 358-360.

Wegman, Rob C. “Communication.” Journal of the American Musicological Society 45 (1992): 161-165.

Recordings

Obrecht, Jacob. Salve Crux. Orlando Consort: CD1015 Metronome, 1997.

Obrecht, Jacob. Factor Orbis.New London Chamber Choir: CD-SAR 56, 1992.

Obrecht, Jacob. Humiliumdecus.The Clerk’s Group: CD GAU 143 ASV, 1995.

Obrecht, Jacob. Beataes, Maria. Early Music Consort of London:449 082 2, 1995.

Obrecht, Jacob. Stat ('tsaat) einMeskin.ConviviumMusicum: 8.553352, 1995.

Online Sources

Phillips, Peter. Obrecht’s Missa Maria Zart (Mass for Gentle Mary). Http://www.gimell.com/database/Releasenotes/032notes.html/(11-24-2002).

Jacob Obrecht. http://www.kardar.net/Dictionary/Obrecht.html/ (11-24-2002).

Wegman, Rob C. ‘Obrecht, Jacob’, The New Grove Dictionary of Music Online ed. L. Macy (Accessed 25 November 2002), <http://www.grovemusic.com>