109:, and even more surprised to learn that they thought it had been written by the much more famous composer Josquin. When he informed the singers of their error â that he was in fact the composer â they refused to sing it again. Indeed, Willaert's early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation or strict canon. Indeed, the early Willaert admired Josquin so much that he wrote a mass, Missa Mente Tota, in double canon throughout with two free voices, based upon a movement of a famous Josquin motet (
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269:) Willaert uses musica ficta around the circle of 5ths in one of the voices resulting in an augmented 7th in unison with the ending octave, an outstanding experiment with chromatic enharmonicism. Willaert was among the first to extensively use chromaticism in the madrigal. Looking forward, we are given an image of early
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281:. Willaert, with the help of De Rore, standardized a five-voice setting in madrigal composition. Willaert also pioneered a style that continued until the end of the madrigal period of reflecting the emotional qualities of the text and the meanings of important words as sharply and clearly as possible.
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or simultaneously. De Rore, Zarlino, Andrea
Gabrieli, Donato, and Croce, Willaert's successors, all cultivated this style. The tradition of writing that Willaert established during his time at St. Mark's was continued by other composers working there throughout the 17th century. He then composed and
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family in Milan ; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy. In
Ferrarese court documents, Willaert is referred to as "Adriano Cantore". In addition to his output of sacred music as the director of
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From his appointment in 1527 until his death in 1562, Willaert retained the post at St. Mark's. Composers came from all over Europe to study with him , and his standards were high both for singing and composition. During his previous employment with the dukes of
Ferrara, he had acquired numerous
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Sometime around 1515 Willaert first went to Rome. An anecdote survives that indicates the musical ability of the young composer: Willaert was surprised to discover the choir of the papal chapel singing one of his own compositions, most likely the six-part motet
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and other works for two alternating choirs. This innovation met with instantaneous success and strongly influenced the development of the new method. In Venice, a compositional style, established by
Willaert, for multiple choirs dominated. In 1550 he published
312:. The Venetian School flourished for the rest of the 16th century, and into the 17th, led by the Gabrielis and others. Willaert also probably influenced a young Palestrina. Willaert left a large number of compositions â 8 (or possibly 10) masses, over 50
238:. Willaert's work in the religious genre established Flemish techniques firmly as an important part of the Venetian Style. While more recent research has shown that Willaert was not the first to use this antiphonal, or polychoral method â
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style of the
Venetian school evolved. As there were two choir lofts â one to each side of the main altar of St. Mark's, both provided with an organ â, Willaert divided the choral body into two sections, using them either
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304:. These composers, except for Lassus, formed the core of what came to be known as the Venetian school, which was decisively influential on the stylistic change that marked the beginning of the
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Willaert was one of the most versatile composers of the
Renaissance, writing music in almost every extant style and form. In force of personality, and with his central position as
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277:. Willaert, who was fond of the older compositional techniques such as the canon, often placed the melody in the tenor of his compositions, treating it as a
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132:. In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of
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192:(double canonic chansons) had been published as early as 1520 in Venice. Willaert owes much of his fame in sacred music to his motets.
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even used it in the late 15th century â Willaert's polychoral settings were the first to become famous and widely imitated.
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128:, where Ippolito resided from 1517 to 1519. Following Ippolito's death in 1520, Willaert entered the service of Duke
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at St. Mark's, he became the most influential musician in Europe between the death of
Josquin and the time of
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had a rather large hand in
Willaert's appointment to the position of maestro di cappella at St. Mark's.
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211:, writing later in the 16th century, Willaert was the inventor of the antiphonal style from which the
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58:. He was one of the most representative members of the generation of northern composers who moved to
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93:, Willaert went to Paris first to study law, but instead decided to study music. In Paris he met
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Willaert was no less distinguished as a teacher than as a composer. Among his disciples were
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era. Among
Willaert's pupils in Venice, one of the most prominent was his fellow northerner
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19:"Willaert" redirects here. For other people with the surname Willaert or Willaerts, see
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124:. Willaert likely accompanied Ippolito on his travels to various places, including
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851:. Music Literature Outlines (3rd ed.). Bloomington: Frangipani Press.
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Willaert's most significant appointment came with his selection in 1527 as
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contacts and influential friends elsewhere in Europe, including the
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The
Renaissance From the 1470s to the end of the 16th century
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300:. Another composer stylistically descended from Willaert was
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799:. Vol. 2. New York: Cooper Square Publishers, Inc.
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In July 1515, Willaert entered the service of Cardinal
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86:. According to his student, the renowned 16th century
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808:. New York: Harcourt, Harcourt Brace Jovanovich, Inc.
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54:. Mainly active in Italy, he was the founder of the
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790:. Vol. 2. New York: Barnes & Noble, Inc.
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606:
249:With his contemporaries, Willaert developed the
829:The New Grove Dictionary of Music and Musicians
755:. New York: Harper & Rowe, Publishers, Inc.
496:The New Grove Dictionary of Music and Musicians
230:, antiphonal settings of the psalms, the first
816:. Vol. 4. New York: Abradale Press. 1963.
812:
786:Robertson, Alec; Stevens, Denis, eds. (1965).
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378:"Willaert [Vuigliart, etc.], Adrian"
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814:World of Music An Illustrated Encyclopedia
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898:International Music Score Library Project
848:Music in the Middle Ages and Renaissance
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253:(a form of polyphonic secular song) and
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918:Digital Image Archive of Medieval Music
914:List of compositions by Adrian Willaert
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390:10.1093/gmo/9781561592630.article.40122
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199:Music notation from Adrian Willaert's
2633:16th-century Franco-Flemish composers
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804:Ulrich, Homer; Pisk, Paul A. (1963).
759:
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242:had employed it before Willaert, and
188:chanzoni franciose a quarto sopra doi
869:Adrian Willaert: A Guide to Research
806:A History of Music and Musical Style
972:
726:The Concise Oxford History of Music
13:
821:
746:. Englewood Cliffs: Prentice Hall.
728:. Oxford: Oxford University Press.
14:
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2653:Venetian School (music) composers
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261:. In an early 4-part vocal work,
2623:Belgian male classical composers
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2055:Giovanni Pierluigi da Palestrina
184:. Some of Willaert's motets and
62:and transplanted the polyphonic
288:, his successor at St. Mark's;
16:Flemish composer (c. 1490â1562)
904:Free scores by Adrian Willaert
894:Free scores by Adrian Willaert
827:Article "Adrian Willaert," in
767:(revised ed.). New York:
475:
370:
164:St. Mark's, he wrote numerous
1:
1798:List of Renaissance composers
335:
40:
926:from the UmeÄ Akademiska Kör
908:Choral Public Domain Library
737:. New York: Alfred A. Knopf.
661:Robertson & Stevens 1965
607:Robertson & Stevens 1965
265:(In some sources called the
7:
2618:Belgian classical composers
797:The Oxford History of Music
172:Musical style and influence
10:
2669:
2428:Petrus Phalesius the Elder
2243:English Virginalist School
1608:Giacomo Giuseppe Saratelli
795:Wooldridge, H. E. (1973).
769:W. W. Norton & Company
742:Fenlon, Iain, ed. (1989).
717:
18:
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2210:Jan Pieterszoon Sweelinck
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1980:
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1804:
1795:
1640:Giovanni Agostino Perotti
1459:
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1257:
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1115:Venetian polychoral style
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935:Links to related articles
866:Kidger, David M. (2005).
845:; Becker, Warren (1981).
733:Einstein, Alfred (1965).
111:Vultum tuum deprecabuntur
46:â 7 December 1562) was a
32:Willaert in 1527 portrait
1520:Giulio Cesare Martinengo
1098:Giulio Cesare Martinengo
924:free recordings of songs
765:Music in the Renaissance
751:Miller, Hugh M. (1972).
735:A Short History of Music
724:Abraham, Gerald (1917).
499:(2nd ed.). London:
426:Encyclopaedia Britannica
296:; Gioseffo Zarlino; and
101:, and studied with him.
2238:English Madrigal School
1568:Giovanni Battista Volpe
872:. New York: Routledge.
69:
2080:TomĂĄs Luis de Victoria
1884:Oswald von Wolkenstein
1632:Bonaventura Furlanetto
1576:Gian Domenico Partenio
1331:Jacob Clemens non Papa
692:Ulrich & Pisk 1963
204:
187:
33:
2648:Renaissance composers
2643:People from Roeselare
2100:Transition to Baroque
2045:Pierre de Manchicourt
1453:Saint Mark's Basilica
1346:Pierre de Manchicourt
1162:Franco-Flemish School
328:and 17 instrumental (
316:and psalms, over 150
198:
107:Verbum bonum et suave
31:
2130:Girolamo Frescobaldi
1937:CristĂłbal de Morales
501:Macmillan Publishers
151:. The Venetian Doge
130:Alfonso I of Ferrara
2248:Florentine Camerata
2220:Composition schools
1879:Gaspar van Weerbeke
1616:Baldassarre Galuppi
1464:Johannes de Quadris
1449:Maestri di cappella
1072:Girolamo Dalla Casa
1068:(c.1554âafter 1610)
648:, pp. 228â229.
452:, pp. 111â112.
178:maestro di cappella
141:maestro di cappella
2638:Madrigal composers
2443:Thomas Vautrollier
2423:Ottaviano Petrucci
2398:Pierre Attaingnant
2388:Hieronymus Andreae
2195:Michael Praetorius
2180:Claudio Monteverdi
2170:Giovanni de Macque
2165:Luzzasco Luzzaschi
2135:Alfonso Fontanelli
2025:Francisco Guerrero
2000:Antonio de CabezĂłn
1912:Thomas Crecquillon
1894:Middle (1470â1530)
1874:Johannes Tinctoris
1814:Alexander Agricola
1712:Gastone De Zuccoli
1688:Delfino Thermignon
1624:Ferdinando Bertoni
1528:Claudio Monteverdi
1382:Giovanni de Macque
1336:Thomas Crecquillon
1295:Matthaeus Pipelare
1249:Johannes Tinctoris
1234:Marbrianus de Orto
1209:Alexander Agricola
1120:St Mark's Basilica
1060:Vincenzo Bellavere
788:A History of Music
382:Grove Music Online
324:, over 70 Italian
320:, about 60 French
263:Quid non-ebrietas?
205:
134:Ippolito II d'Este
34:
2628:Flemish composers
2549:
2548:
2543:
2542:
2140:Giovanni Gabrieli
1967:Philippe Verdelot
1864:Johannes Ockeghem
1806:Early (1400â1470)
1789:Renaissance music
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1600:Antonio Pollarolo
1596:
1588:
1580:
1572:
1564:
1560:Giovanni Legrenzi
1556:
1552:Natale Monferrato
1548:
1544:Francesco Cavalli
1540:
1532:
1524:
1516:
1508:
1504:Baldassare Donato
1500:
1492:
1484:
1476:
1468:
1415:
1414:
1387:Philippe de Monte
1229:Johannes Ockeghem
1224:Guillaume Faugues
1128:
1127:
1079:Giovanni Gabrieli
1036:Annibale Padovano
1030:Baldassare Donato
879:978-0-8153-3962-5
858:978-0-88284-379-7
778:978-0-393-09530-2
510:978-1-56159-239-5
399:978-1-56159-263-0
118:Ippolito I d'Este
52:Renaissance music
50:composer of High
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2578:
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2564:
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2533:
2523:
2522:
2403:Vittorio Baldini
2380:Music publishing
2155:Hans Leo Hassler
2110:Gregorio Allegri
2065:Cipriano de Rore
2040:Vicente Lusitano
2035:Orlando di Lasso
1990:Jacques Arcadelt
1957:Pierre de la Rue
1952:Josquin des Prez
1932:Clément Janequin
1927:Antoine de FĂ©vin
1917:Antonius Divitis
1859:Johannes Martini
1834:Guillaume Du Fay
1782:
1775:
1768:
1759:
1758:
1746:
1738:
1730:
1722:
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1648:Antonio Buzzolla
1642:
1634:
1626:
1618:
1610:
1602:
1594:
1586:
1578:
1570:
1562:
1554:
1546:
1538:
1536:Giovanni Rovetta
1530:
1522:
1514:
1506:
1498:
1496:Gioseffo Zarlino
1490:
1488:Cipriano de Rore
1482:
1474:
1472:Pietro de Fossis
1466:
1442:
1435:
1428:
1419:
1418:
1372:Orlando di Lasso
1351:Cipriano de Rore
1326:Jacques Arcadelt
1310:Pierre de la Rue
1300:Josquin des Prez
1275:Antoine de FĂ©vin
1270:Antonius Divitis
1239:Johannes Prioris
1193:Johannes Pullois
1178:Guillaume Du Fay
1155:
1148:
1141:
1132:
1131:
1092:Giovanni Bassano
1023:Gioseffo Zarlino
1016:Cipriano de Rore
1010:Nicola Vicentino
967:
960:
953:
944:
943:
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809:
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782:
756:
753:History of Music
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310:Cipriano de Rore
292:; the Ferrarese
286:Cipriano de Rore
275:Mentre che'l cor
273:in his madrigal
244:Johannes Martini
240:Dominique Phinot
209:Gioseffo Zarlino
190:
99:Josquin des Prez
91:Gioseffo Zarlino
45:
42:
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2574:
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2568:Classical music
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2552:
2550:
2545:
2544:
2539:
2516:
2508:
2495:
2447:
2433:Girolamo Scotto
2418:Antonio Gardano
2374:
2313:
2267:
2214:
2205:Heinrich SchĂŒtz
2200:Philippe Rogier
2150:Orlando Gibbons
2102:
2098:
2089:
2085:Giaches de Wert
2075:Christopher Tye
2030:Claude Le Jeune
2020:Claude Goudimel
2015:Nicolas Gombert
2010:Andrea Gabrieli
2005:Jacobus Clemens
1976:
1972:Adrian Willaert
1902:Martin Agricola
1888:
1824:Antoine Busnois
1819:Gilles Binchois
1800:
1791:
1786:
1756:
1751:
1736:Roberto Micconi
1696:Umberto Ravetta
1480:Adrian Willaert
1455:
1446:
1416:
1411:
1407:Giaches de Wert
1397:Philippe Rogier
1377:Carolus Luython
1360:
1356:Adrian Willaert
1341:Nicolas Gombert
1314:
1253:
1197:
1188:Antoine Busnois
1183:Gilles Binchois
1164:
1159:
1129:
1124:
1103:
1066:Girolamo Diruta
1003:Andrea Gabrieli
989:Adrian Willaert
976:
974:Venetian School
971:
936:
890:
880:
859:
843:Gleason, Harold
824:
822:Further reading
779:
720:
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702:
698:
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683:
671:
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659:
652:
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636:, p. 1485.
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586:
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567:
559:
555:
543:
539:
533:Wooldridge 1973
531:
522:
511:
483:Lockwood, Lewis
480:
476:
472:, p. 1484.
465:
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419:
418:
414:
404:
402:
400:
376:
375:
371:
359:
355:
347:
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338:
298:Andrea Gabrieli
294:Francesco Viola
236:Venetian school
174:
74:He was born at
72:
56:Venetian School
43:
37:Adrian Willaert
24:
17:
12:
11:
5:
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1219:Firminus Caron
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1020:
1018:(c.1515â1565)
1017:
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1012:(1511âc.1576)
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1008:
1006:(c.1532â1585)
1005:
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421:"Jean Mouton"
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207:According to
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153:Andrea Gritti
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67:
66:style there.
65:
61:
57:
53:
49:
38:
30:
26:
22:
2510:
2503:
2474:Architecture
2408:Jacob Bathen
2125:John Dowland
1995:William Byrd
1971:
1869:Leonel Power
1672:Pietro Magri
1479:
1402:Jacobus Vaet
1355:
1077:
1021:
1001:
996:Jacques Buus
988:
987:
910:(ChoralWiki)
868:
847:
828:
813:
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787:
764:
752:
743:
734:
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646:Abraham 1917
641:
631:
626:
614:
602:
561:Abraham 1917
556:
540:
514:
494:
477:
467:
430:. Retrieved
424:
415:
403:. Retrieved
381:
372:
356:
344:
283:
274:
266:
262:
254:
250:
248:
234:work of the
227:
218:antiphonally
206:
200:
185:
177:
175:
157:
140:
138:
115:
110:
106:
103:
73:
36:
35:
25:
2613:1562 deaths
2608:1490 births
2464:Renaissance
2459:Early music
2355:Netherlands
2335:Elizabethan
2190:Jacopo Peri
2160:Alonso Lobo
2120:John Cooper
1982:Late (1530)
1942:Jean Mouton
1854:Jean Japart
1844:Walter Frye
1704:Matteo Tosi
1285:Jean Mouton
1050:(1533â1604)
1038:(1527â1575)
1032:(1525â1603)
1026:(1517â1590)
619:Fenlon 1989
450:Fenlon 1989
363:, pp.
349:Miller 1972
201:Musica Nova
95:Jean Mouton
44: 1490
2602:Categories
2489:Philosophy
2484:Literature
2452:Background
2318:Traditions
2294:Magnificat
2284:Intermedio
2228:Burgundian
1680:Giulio Bas
922:Listen to
706:, p.
704:Reese 1959
675:, p.
673:Reese 1959
578:, p.
576:Reese 1959
547:, p.
545:Reese 1959
361:Reese 1959
336:References
330:ricercares
232:polychoral
221:performed
213:polychoral
182:Palestrina
2580:Biography
2304:Offertory
2233:Colorists
2095:Mannerism
1720:Luigi Vio
981:Composers
763:(1959) .
326:madrigals
255:ricercare
166:madrigals
80:Roeselare
21:Willaerts
2525:Category
2502: â
2365:Portugal
2289:Madrigal
2263:Venetian
1108:See also
1074:(d.1601)
1062:(d.1587)
493:(eds.).
432:4 August
384:. 2001.
322:chansons
259:Verdelot
145:St. Mark
2554:Portals
2515:â
2345:Germany
2325:British
916:at the
906:in the
900:(IMSLP)
896:at the
718:Sources
365:370â371
306:Baroque
251:canzone
126:Hungary
122:Ferrara
76:Rumbeke
48:Flemish
2535:Portal
2360:Poland
2340:France
2330:Cyprus
2309:Pavane
2103:c.1600
1747:(2000)
1739:(1981)
1731:(1954)
1723:(1939)
1715:(1937)
1707:(1926)
1699:(1921)
1691:(1900)
1683:(1899)
1675:(1898)
1667:(1894)
1659:(1871)
1651:(1855)
1643:(1811)
1635:(1808)
1627:(1785)
1619:(1762)
1611:(1747)
1603:(1740)
1595:(1736)
1587:(1702)
1579:(1692)
1571:(1690)
1563:(1685)
1555:(1676)
1547:(1668)
1539:(1644)
1531:(1613)
1523:(1609)
1515:(1605)
1507:(1590)
1499:(1565)
1491:(1563)
1483:(1527)
1475:(1491)
1467:(1463)
876:
855:
835:
775:
507:
405:25 May
396:
318:motets
302:Lassus
223:psalms
203:(1568)
161:Sforza
149:Venice
147:'s at
84:Bruges
2592:Music
2479:Dance
2370:Spain
2350:Italy
2279:Carol
2258:Roman
314:hymns
78:near
60:Italy
2299:Mass
2097:and
874:ISBN
853:ISBN
833:ISBN
773:ISBN
634:1963
505:ISBN
470:1963
434:2023
407:2024
394:ISBN
70:Life
2469:Art
1451:at
708:310
677:324
580:371
549:348
515:DB1
386:doi
332:).
143:of
120:of
113:).
82:or
2604::
771:.
684:^
653:^
587:^
568:^
523:^
513:.
503:.
489:;
457:^
442:^
423:.
392:.
380:.
136:.
41:c.
2556::
1781:e
1774:t
1767:v
1441:e
1434:t
1427:v
1154:e
1147:t
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