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  • 12 - The origins of pervasive imitation

  • from Part II - Improvisation and composition
  • Edited by Anna Maria Busse Berger, University of California, Davis, Jesse Rodin, Stanford University, California
  • Book:
    The Cambridge History of Fifteenth-Century Music
    Published online:
    05 July 2015
    Print publication:
    16 July 2015, pp 200-228

  • Summary

    This chapter explores the musical life of the Armed Man, beginning with Josquin, Pierre de La Rue, and others active at the turn of the sixteenth century. It proposes a new way of parsing the musical connections that bind several fifteenth-century settings together. The chapter considers several additional examples of musical borrowing, with respect to both masses and secular L'homme arme settings. It discusses the terminological propriety and methodological value of musical borrowing. The earliest surviving reference to a L'homme arme mass dates from 1462-63, when Regis's setting was copied in Cambrai. Musical quotation is central to late medieval ways of composing. Borrowing might seem the sexier interpretive tool, but the lingua franca is often more powerful. The L'homme arme tradition is a resonant, indeed cacophonous echo chamber that challenges one to distinguish originary sounds from their reverberations.