Matthew Hall

The motet Laudate Dominum de caelis, copied in Vatican City, Biblioteca Apostolica Vaticana, Ms. Cappella Sistina 42 c. 1509-12, is distinctive in Brumel's output, bearing many of the hallmarks of the so-called 'Milanese' style. This article addresses its sources, style, and technical construction in the context of some of Brumel's other motets and of Joshua Rifkin's recent research on the French-court motet around 1500, as exemplified by the motets of Josquin and Mouton. Analyses of local contrapuntal structures and of the motet's overall form offer a view of Brumel's working methods. These considerations lead to a picture of the motet as a product of Brumel's engagement with a French-court motet repertory in the first decade of the sixteenth century.

Evaluates the current interpretation of the performing parts (keyboard and instrumental parts) of the 1702 edition of Dieupart's Six suittes published by Roger in Amsterdam. The author argues the that two impressions do not correlate to two distinct performing ensembles. This argument is based on the interpretation of the phrase mises en concerts and situates the suites within the context of the performing practice of music en concert from ca. 1650 to ca. 1750. Evidence supports the conclusion that Dieupart's Suittes were originally conceived as accompanied keyboard music and constitute the first true examples of the genre. (authored by Heather Brown, RILM)