WHAT JOSQUIN WAS REALLY LIKE
But is the story wholly false? Even if the attribution to Josquin of Bonitatem fecisti is obviously an embellishment, the authenticity of Memor esto (Ex. 14-1) is well attested. It is a prime example of Josquin’s characteristic “paired imitation” style, in which an opening imitative duo (here the tenor and bassus) is answered, when it reaches its cadence, by a complementary duo (here the superius and altus), and is entirely typical of his psalm motets, just as its high degree of “motivicity” (to use an ugly but handy word coined by Joshua Rifkin to denote the building up of long melodies and dense textures out of repetitions and transpositions of a tiny—here, a four-note—phrase) is generally typical of Josquin’s mature style. Can the motet’s connection with Louis XII and his forgotten promise be confirmed or, more decisively, disproved?
- Citation (MLA):
- Richard Taruskin. "Chapter 14 Josquin and the Humanists." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 3 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-014005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 14 Josquin and the Humanists. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-014005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 14 Josquin and the Humanists." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 3 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-014005.xml