Contents

Annotated Bibliography

1. Eakins, R., Ed. 1999. An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano: Liber Missarum. Collected Works XVII/1. Ottawa, The Institute of Mediaeval Music.
   Contains editions of items 1-4: Anon, Credo; Caron, Missa Accueille m'a la belle; Heyns, Missa Pourquoy; Vincinet, Missa O gloriosa.
2. Eakins, R., Ed. 2000. An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano: Liber Missarum. Collected Works XVII/2. Ottawa, The Institute of Mediaeval Music.
   Contains editions of items 5-8: De Clibano, Missa Et super nivem dealbabor; Caron, Missa Jesus autem transiens; Faugues, Missa [La] Basse danse; [Faugues], Missa Vinnus Vina.
3. Eakins, R., Ed. 2001. An Editorial Transnotation of the Manuscript Capella Sistina 51, Biblioteca Apostolica Vaticana, Città del Vaticano: Liber Missarum. Collected Works XVII/3. Ottawa, The Institute of Mediaeval Music.
   Contains editions of items 9-12: [Philippe Caron] - Missa Sanguis Sanctorum; Anonymous - Missa L'ardant désir; Antoine Busnois - Missa O Crux Lignum triumphale; Anonymous - Missa D'ung aultre amer.
4. Fallows, D. 2001. "Caron, Firminus", The New Grove Dictionary of Music and Musicians, 2nd edition, ed. S. Sadie, Macmillan Publishers Limited, London, vol. 5, pp. 176-7
   F notes important details concerning developments in the style of chanson composition; suggests a case for the Missa Jhesus autem transiens being the earliest of Caron’s mass cycles; and further suggests the possibility through “indirect evidence” of an association between Caron and Du Fay. The entry lists 5 extant masses and 36 song titles, several of which are equivalents: e.g. Ave sydus clarissimun = Helas que pourra.
   
5. Gallagher, S. "Caron, Firminus", Die Musik in Geschichte und Gegenwart, ed. Ludwig Finscher,  Kassel, Bärenreiter, 2000, Personenteil, vol. 4.
   
6. Giller, D. 1981."The Naples L'Homme Armé Masses and Caron: A Study of Musical Relationships." Current Musicology 32: 7-28
   
7. Haggh, B. 1999. "Busnoys and 'Caron' in documents from Brussels." in Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music. ed. P. Higgins, Oxford, Clarendon Press: 295-315.
   H reports a newly discovered document which details the chaplaincy of St Nicholas in Brussels held briefly by Busnoys in1478. There is, however, no evidence of Busnoys presence there. Also discussed are archival records of Brussels from the 1470s reporting a (Jean) Caron. H notes that, contrary to Roth, Jean's son, Philippe Caron, was not at the Burgundian court and was too young to be identified with the composer Firminus Caron whose mass was copied at Cambrai in 1472 (and already well transmitted by this date).
   
8. Holford-Strevens, L. 1996. "Tinctoris on the great composers." Plainsong and Medieval Music 5(2): 193-199.
   H-S discusses the passage in Tinctoris' Liber de arte contrapuncti praising five living (Ockeghem, Regis, Busnoys, Caron, Faugues) and three recently dead composers (Dunstable, Dufay & Binchois) which contains allusion linking it to the Sirens of Homer. While the allusion might perplex those only familiar with Homer and to whom the Sirens signify death, the author soon reveals the classical and medieval tradition where their sweet song is praise in its own right, thereby throwing a positive light onto its practicioners.
   
9. Montagne, G. 1987. “Caron, Hayne, Compère: a Transmission Reassessment”, Early Music History 7: 105-157.
   
10. Planchart, A. E. 2003. "The origins and early history of L'homme armé." Journal of Musicology 20(3): 305-57.
    P proposes that Il sera par vous / L'homme arme (with par for pour) was in written not by Robert Morton, but Guillaume Du Fay around 1460. Provides evidence that Du Fay knew Symon le Breton, the subject of the song. From this, P suggest the following chronology for the composition of the L'homme arme masses: c. 1461: Ockeghem and Dufay; c. 1462-1467: Caron and Regis; after 1467: the 6 Naples masses and Busnoys (1468). Examines the Christological narrative of the L'homme arme mass and offers an explanation for the bflat signature. Suggests based on numerological considerations that the variants in the Credo of Ockeghem's L'homme arme are such that the CS 35 version represents a revision made for the Order of the Golden Fleece with Chigi containing the original.
    
11. Reynolds, C. A. 1992. "The counterpoint of allusions in fifteenth-century masses." Journal of the American Musicological Society 45(2): 228-260.
    R examines the use of citations between songs and between songs and the mass of the later fifteenth century as a form of rhetorical device motivated by humanistic standards. Often citations complement/gloss the sacred text, although not all relationships are explicit and may have been merely citation for citations sake, such as that found frequently in the humanist oratory/epistolaries.
    
12. Reynolds, C. A. 1995. Papal patronage and the Music of St Peters 1380-1513. Berkeley, University of California Press.
    R's thorough examination of musical practice and music copying at St Peter's of Rome is an excellent example of the applications of many sub-disciplines of musicology for the advantage of a new knowledge of musical practice at that institute. R discusses issues such as the organ of St Peter, and how periods of disrepair attested to by documentation might have affected liturgical practice. He summarises his well developed and elsewhere extensively discussed views on the source SP 80, indications that it was copied mostly by Nicholas Ausquier, relations of later scribes D and E to CS 14, 51 and 35. R then moves into a discussion of the musical culture of the mass cycle, the use of citation (of established head motifs and other songs). In light of scribal alterations in his Vinnus vina and L'homme armé, R examines proposes a certain relationship of Caron to St Peters. This is followed by a discussion which attempts to locate Guillaume Faugues at Rome based on musical/source indicators. A general discussion of the nature of employment at St Peters from the mid-fifteenth century to the founding of Capella Guiliana in 1513 follows.
    
13. Taruskin, R. 1986. “Antione Busnoys and the L’homme armé Tradition,”Journal of the American Musicological Society 39:255-293.
    T proposes that Busnois may have composed the first (or next to first) L'homme armé mass. He broadly hypothesises that B may have also composed the chanson on the L'homme armé tune Il sera pour vous, and also suggests that the six anonymous L'homme armé masses in Naples, B.N., ms VI E 40 are by Busnois. T examines Pythagorean proportional relationships between the sections of Busnois and others' masses and suggested that the occurrence durations of 31 units may be linked to Philip the Good's Order of the Golden Fleece, which comprosed 31 chevaliers. T also examines the use of several mensuration signs in Busnois' mass, including the O2 = [III, 2] dim (p.284-5), the augmented dotted C (p.283), the cut dotted C as a diminished version of the augmented use of the dotted C (p.285-6), the use of a cut reversed C after this time (to indicate a 4:3, but only in relation to this sign)(p.286), and the use of C3 to indicate major prolation [i.e. 3:2, but arranged in imperfect tempus](p.286-288). The second and third sign are found in the Confiteor of his L'homme armé mass.
    
14. Thibault, G. 1980. "Caron, Philippe." in The New Grove Dictionary of Music and Musicians. 1st Edn, ed. S. Sadie. London, Macmillan. 3: 816-7. An overview of current knowledge. Notes lack of biographic details.
    
15. Thomson, J. C. 1964. An introduction to Philippe (?) Caron. Brooklyn, Institute of Mediaeval Music.
    
16. Thomson, J., Ed. 1971 & 1976. Les oeuvres completes de Philippe(?) Caron. Collected Works vol. VI/1 & 2. Brooklyn, Institute of Mediaeval Music. This edition of 5 masses and 20 chansons stems from T’s research into Caron for his two-volume doctoral thesis at New York University, The Works of Caron, A Study in Fifteenth-Century Style, University Microfilms International, Ann Arbor, Michigan, 1960. (The first volume is the thesis proper, the second a hand-drawn edition of the works.) Volume 1 of the IMM publication contains the Missae Accueille m’a la belle, Clemens et Beniga and Jesu autem transiens plus four plates from the sources and a Preface, Acknowledgements, List of Abbreviations and Editorial Observations in both English and German; volume 2, the Missae L’homme armé and Sanguis sanctorum and the 20 chansons, plus a four further plates, List of Abbreviations, Preface, Editorial Observations (also in both English and German) and the chanson texts (without translations). For some of the chansons, where variant readings are substantial, additional lines are included. Unlike the thesis version, the IMM publication does not use C clefs; rather there is a consistent application of G, G octava bassa and F clefs. Source-transmitted values are reduced to a quarter. Striking is the measuring system adopted for the entire edition (both thesis and IMM publication) which is argued through in vol. 1 of the thesis (pp. 69-82), and in the article “The Performance of Music Transcribed with Irregularly Placed Barlines”, American Choral Review 12(3)(1970). The methodology of this system seeks to subdivide the lines into rhythmic groups using both present-day time signatures (e.g. 3/8, 6/8, 5/8, 7/8, 3/4, 2/4 3/2) and additive numerical sequences such as 3+3+2. On one level, the net result is a visually complex edition.