Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- Part X Reception
- 41 The most popular songs of the fifteenth century
- 42 The nineteenth-century reception of fifteenth-century sacred music
- 43 The modern reception of the music of Jean d’Ockeghem
- 44 Recordings of fifteenth-century music
- 45 Solidarity with the long-departed: fifteenth-century echoes in twentieth-century music
- Index
43 - The modern reception of the music of Jean d’Ockeghem
from Part X - Reception
Published online by Cambridge University Press: 05 July 2015
Book contents
- The Cambridge History of Fifteenth-Century Music
- Series page
- The Cambridge History of Fifteenth-Century Music
- Copyright page
- Dedication
- Contents
- Figures
- Music examples
- Notes on contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Historiography
- Part II Improvisation and composition
- Part III Humanism
- Part IV Music and other arts
- Part V Music in churches, courts, and cities
- Part VI Religious devotion and liturgy
- Part VII Theory and practice
- Part VIII Sources
- Part IX Genres
- Part X Reception
- 41 The most popular songs of the fifteenth century
- 42 The nineteenth-century reception of fifteenth-century sacred music
- 43 The modern reception of the music of Jean d’Ockeghem
- 44 Recordings of fifteenth-century music
- 45 Solidarity with the long-departed: fifteenth-century echoes in twentieth-century music
- Index
Summary
Jean d'Ockeghem's preeminence among the composers of his generation seems unassailable. Two decisive inflections were introduced into the Ockeghem reception around the middle of the sixteenth century. Both brought about significant change, but in very different ways. One reflects a very practical strain within the Ockeghem reception, affecting which music is available and how it is read; the other is a more subtle change within the forces that have an impact on how the music is appreciated. The principal hero in early Ockeghem scholarship is August Wilhelm Ambros, whose command of musical sources expanded the available corpus of Ockeghem's works from the four pieces that were known in the eighteenth century to twenty-one. More importantly, he focused intensely on their musicality, rather than on their technique. One of the most puzzling characterizations of Ockeghem's music is its portrayal as a mystical expression of pietism.
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- The Cambridge History of Fifteenth-Century Music , pp. 811 - 822Publisher: Cambridge University PressPrint publication year: 2015