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Jeffrey J. Dean

Published writings

‘The scribes of the Sistine Chapel, 1501–1527’ (PhD dissertation, University of Chicago, 1984; UMI T-29085), supervised by Howard Mayer Brown.

Introduction to Vatican City, Biblioteca Apostolica Vaticana, Cappella Sistina MS 46 (Renaissance music in facsimile: sources central to the music of the late fifteenth and sixteenth centuries, 21; New York: Garland Publishing, 1986), pp. v–xvi.

‘The occasion of Compère’s Sola caret monstris: a case study in historical interpretation’, Musica disciplina, 40 (1986): 99–133.

‘The repertory of the Cappella Giulia in the 1560s’, Journal of the American Musicological Society, 41 (1988): 465–90.

review of Cleveland Johnson, Vocal compositions in German organ tablatures, 1550–1650: a catalogue and commentary (Outstanding dissertations in music from British universities; New York: Garland Publishing, 1989), in Early music, 18 (1990): 293–5.

review of Man and music, ii: The Renaissance: from the 1470s to the end of the 16th century, ed. Iain Fenlon (London: Macmillan, 1989), in Early music, 19 (1991): 112–15.

review of Willem Elders, Composers of the Low Countries, trans. Graham Dixon (Oxford: Clarendon Press, 1991), in Music & letters, 73 (1992): 97–8.

‘Johannes Brunet and Nato canunt omnia’, in Culturas musicales mediterráneas y sus ramificaciones [International Musicological Society congress report, Madrid 1992], published in Revista de musicología, 16 (1993): 2656–72.

review of Martin Agricola, The rudiments of music (Rudimenta musices, 1539), trans. John Trowell (Classic texts in music education, 25 [=21]; Aberystwyth: Boethius Press, 1991), in Music & letters 75 (1994): 434–5.

review of A correspondence of Renaissance musicians, ed. Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller (Oxford: Clarendon Press, 1991), in Music & letters 75 (1994): 435–7.

review of A performer’s guide to Renaissance music, ed. Jeffery T. Kite-Powell (New York: Schirmer Books, 1994), in The consort: European journal of early music, 51 (1995): 146–7.

review of Music in the German Renaissance: sources, styles, and contexts, ed. John Kmetz (Cambridge University Press, 1994), in The consort: European journal of early music, 51 (1995): 149–50.

Modality in the music of the fourteenth and fifteenth centuries / Modalität in der Musik des 14. und 15. Jahrhunderts, ed. Ursula Günther, Ludwig Finscher, and Jeffrey Dean (Musicological studies and documents, 49; Neuhausen-Stuttgart: American Institute of Musicology and Hänssler, 1996).

‘Okeghem’s attitude towards modality: three-mode and eight-mode typologies’, in Modality in the music of the fourteenth and fifteenth centuries (above), 203–46.

edition of Prosper Marchand, ‘Impostoribus (Liber de tribus)’, in idem, Dictionnaire historique, ou Mémoires critiques et littéraires, concernant la vie et les ouvrages de divers personnages distingués, particulièrement dans la république des lettres (The Hague: Pierre de Hondt, 1758), i: 312–29, in Heterodoxy, Spinozism, and free thought in early-eighteenth-century Europe: studies on the Traité des trois imposteurs, ed. Silvia Berti, Françoise Charles-Daubert, and Richard H. Popkin (Archives internationales d’histoire des idées, 148; Dordrecht: Kluwer Academic Publishers, 1996), 476–524.

‘Hexachord’, §vi: ‘Die Praxis des 15. Jahrhunderts’, §vii: ‘Vereinfachungen der Praxis im 16. Jahrhundert’, §viii: ‘Das Hexachord als Thema von Kompositionen’, in Die Musik in Geschichte und Gegenwart, 2nd edn, ed. Ludwig Finscher, Sachteil iv: Hamm–Kar (Kassel: Bärenreiter; Stuttgart: Metzler, 1996), cols. 286–92.

review of Richard Sherr, Papal music manuscripts in the late fifteenth and early sixteenth centuries (Renaissance manuscript studies, 5; Neuhausen-Stuttgart: American Institute of Musicology and Hänssler, 1996), in Early music, 25 (1997): 309–11.

‘Listening to sacred polyphony c.1500’, Early music, 25 (1997): 611–36.

‘The evolution of a canon at the papal chapel: the importance of old music in the fifteenth and sixteenth centuries’, in Papal music and musicians in late medieval and Renaissance Rome, ed. Richard J. Sherr (Oxford: Clarendon Press, 1998), 138–67.

‘Okeghem’s valediction? the meaning of Intemerata Dei mater’, in Johannes Ockeghem: actes du XLe colloque international d’études humanistes [Tours 1997], ed. Philippe Vendrix (Paris: Klincksieck, 1999), 521–70.

review of Paul A. Merkley and Lora L. M. Merkley, Music and patronage in the Sforza court (Studi sulla storia della musica in Lombardia, 3; Turnhout: Brepols, 1999), in Early music, 28 (2000): 477–9.

entries in The new Grove dictionary of music and musicians, 2nd edn, ed. Stanley Sadie and John Tyrrell, 29 vols. (London: Macmillan, 2001), s.vv. ‘Alart’, ‘Basiron, Philippe’, ‘Boubert’, ‘Briant, Denis’, ‘Brumen, Denis’, ‘Brunet, Johannes’, ‘cantus planus’, ‘Compère, Loyset’, ‘concentus’, ‘Craen, Nicolaus’, ‘De Vinea, Antonius’, ‘Eloy d’Amerval’, ‘Feininger, Laurence’, ‘Hylaire’, ‘Josquin des Prez’ (work-list), ‘Josquin, Jan’, ‘Le Conte, Bartolomeus’, ‘Le Rouge, G.’, ‘Longueval, Antoine de’, ‘Philomathes, Venceslaus’, ‘Pont, Jacques du’, ‘Ramis de Parea, Bartolomeus’.

review of Antoine Busnoys: method, meaning, and context in late medieval music, ed. Paula Higgins (Oxford: Clarendon Press, 1999), in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 51 (2001): 149–55.

review of The Josquin companion, ed. Richard Sherr (Oxford University Press, 2001), in TLS [Times literary supplement] (7 Sept. 2001), 19.

entries in The Oxford companion to music, [new edn], ed. Alison Latham (Oxford University Press, 2002), s.vv. ‘academies’, ‘ancient Mesopotamian and Egyptian music’, ‘blue note’, ‘blues’, ‘Camerata’, ‘clubs’, ‘editions (historical, critical)’, ‘exoticism’, ‘Liber usualis’, ‘lithography’, ‘mainstream jazz’, ‘missa’, ‘neo-classic jazz’, ‘Nuove musiche’, ‘pedal note’, ‘prelude’, ‘rhythm section’, ‘sketch’, ‘swing’ i.

review of Craig Wright, The maze and the warrior: symbols in architecture, theology, and music (Cambridge, MA: Harvard University Press, 2001), in Early music, 31 (2003): 125–7.

‘Verona 755 and the Incomprehensibilia composer’, in Manoscritti di polifonia nel Quattrocento europeo: atti del Convegno internazionale di studi, Trento – Castello del Buonconsiglio, 18–19 ottobre 2002, ed. Marco Gozzi (Trent: Provincia autonoma di Trento, Soprintendenza per i Beni librari e archivistici, 2004), 93–108.

‘Some observations on Motetti C: C for confusion, chronology, and Concede nobis’, in Venezia 1501: Petrucci e la stampa musicale / Venice 1501: Petrucci, music, print and publishing; atti del Convegno internazionale, Venezia – Palazzo Giustinian Lolin, 10–13 ottobre 2001, ed. Giulio Cattin and Patrizia Dalla Vecchia (Venice: Edizioni Fondazione Levi, 2005), 375–89.

‘Josquin’s teaching: ignored and lost sources’, in ‘Uno gentile et subtile ingenio’: studies in Renaissance music in honor of Bonnie Blackburn, ed. Gioia Filocamo and M. Jennifer Bloxam (Turnhout: Brepols, 2009), 741–50.

‘A note on the text of Loÿset Compère’s Sile fragor’, in The soul of wit: micro-Festschrift Rob Wegman zum 50. Geburtstag, ed. Michael Scott Cuthbert (Somerville, Mass.: Wall Status Press, 2011), xv.v–xvj.v

‘Josquin, two contrafacta, and the lost stanzas of “Comment peult avoir joye”’, in Essays on Renaissance music in honour of David Fallows: Bon jour, bon mois, et bonne estrenne, ed. Fabrice Fitch and Jacobijn Kiel (Woodbridge: Boydell & Brewer, 2011), 279–85.

‘Towards a restoration of Tinctoris’s L’homme armé mass: coherence, mensuration, varietas’, Journal of the Alamire Foundation, 5 (2013): 11–40

‘Two wounded soldiers: L’homme armé, Basiron, Tinctoris — and Laurence Feininger’, in I codici musicali trentini del Quattrocento: nuove scoperte, nuove edizioni e nuovi strumenti informatici, ed. Marco Gozzi and Danilo Curti (Trent: Provincia autonoma di Trento, Soprintendenza per i Beni librari e archivistici, 2013), 89–100.

editions and translations (in collaboration with Ronald Woodley) of Johannes Tinctoris, Tractatus De notis et pausis; Tractatus De regulari valore notarum; Tractatus De imperfectione notarum musicalium; Tractatus De alteratione notarum; Scriptum De punctis musicalibus; Liber De arte contrapuncti; Libri quinque De inventione et usu musice, in Johannes Tinctoris: Complete theoretical works (www.earlymusictheory.org/Tinctoris/), published from 2013, revision ongoing.

‘The polyphonic Vesperal manuscript type, Du Faÿ’s hymn cycle, and institutional identity in the papal chapel, 1400–1600’, in Sources of identity: makers, owners and users of music sources before 1600, ed. Lisa Colton and Tim Shephard, Épitome musical (Turnhout: Brepols, 2017), 133–68.

‘Tinctoris’s reading practice: De inventione et usu musice and his Greek authorities’, in Johannes Tinctoris and music theory in the late middle ages and Renaissance, ed. Ronald Woodley and Christian Goursaud, Épitome musical (Turnhout: Brepols, forthcoming).