MORALES, JOSQUIN AND THEL'HOMME ARMÉTRADITION

Abstract

The expansive tradition of RenaissanceL'homme armémasses often prompts considerations of how composers competed with, imitated or emulated one another. For fifteenth-century settings, written in close chronological proximity, such comparisons have yielded important channels of influence. But they are less effective in explainingL'homme armémasses from the mid-sixteenth century, written after this tradition's heyday and less immediately concerned with proximate influence. This article addresses the relationships between two pairs ofL'homme armémasses by composers of two separate generations: Cristóbal de Morales and Josquin des Prez. Besides uncovering close links between these works relating to source tune treatment, mode, texture and overall style, it offers a new contextualisation for these practices. Morales does not compete with, imitate or emulate Josquin; rather, he reanimates theL'homme armétradition by adapting features from its most renowned practitioner and translating them into a contemporary musical language.

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