Heft 03 / Juli 2016

Zusammenfassung:

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Summary:

Aspects of Self-Referential Art in Josquin’s »Déploration de Iohan. Ockeghem« – This essay examines the phenomenon of self-referential art using Josquin’s nenia Nymphes des bois, written on the occasion of Ockeghem’s death. The point of departure is the peculiarity that Josquin himself is addressed in the passage of this motet-chanson with French text, and is urged to don his mourning dress and weep for his father Ockeghem. The analysis of the text and the music reveals a musical enactment by Josquin of his own singing. The key to understanding this is the use of the chorale from the funeral liturgy: it transpires that Josquin not only uses the Introit in the first part, but also the Communion in the last, here modifying Molinet’s text – especially the prayer for the dead – and making it the liturgical text of the mass. The author then systematizes the various self-referential elements whereby Josquin makes music the subject of his music, listing intertextuality, the enactment of music-making, the conscious creation of particularities of musical performance, and finally numerology. He ends with reflections on how to understand such self-referential aspects, emphasizing the necessity of the idea of the composer’s conception on the one hand, and of musical events in performance on the other hand.

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