Musical Borrowing
An Annotated Bibliography

Individual record

[+] Bernstein, Lawrence F. "The Cantus-Firmus Chansons of Tylman Susato." Journal of the American Musicological Society 22 (Summer 1969): 197-240.

Tylman Susato's Premier and Tiers livres à 2 ou à 3 parties include approximately fifty chansons that derive their material from preexistent sources. The models for Susato's cantus firmus chansons come from Flemish, Italian, and Parisian prints; from compositions for two voices or four; from both polyphonic and homophonic compositions; and from composers as divergent as Josquin des Prez and Claudin de Sermisy as well as Susato himself. Susato modifies the cantus firmus to suit the needs of his new composition. While retaining most cadential schemes from his models, Susato feels free to change some cadences to fit the logic of his new piece. He borrows from the lower voices of his models as well, using parody to highlight tension or stability in the new piece. Unlike Gervaise [see Bernstein, "Claude Gervaise as Chanson Composer"], who demonstrates little regard for the formal implications of borrowed material, Susato takes care to emphasize the structural nature of his models.

Works: Susato: Content désir (218), Long temps y a (219), Je prens en gré (220), Mon pauvre cueur (221), Grace vertu (222), Puisque j'ay perdu mes amours (229-30).

Index Classifications: 1500s

Contributed by: John F. Anderies

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