VERDELOT
Philippe
Bibliographie
Sitographie
Amati, Alexandra, "A Fresh Look at the Life of Philippe Verdelot, Maestro dicappella at the Duomo of Florence,” in Atti del convegno internazionale “Cantate Domino Musica nei secoli per la Cattedrale di Firenze ,” eds. C. Gianturco et al.(Florence: Edifir, 2001), vol. III, pp. 89-105.
Amati, Alexandra, “An Italian Genre in the Hands of a Frenchman: Philippe Verdclot as Madrigalist, with Special Emphasis on the Six-Voice Pieces.” 2 vols. Harvard University, 1994. xxi, 546p. UMI 9514752.
Bragard, Anne-Marie Étude bio-bibliographique sur Philippe Verdelot, musicien français de la Renaissance. Bruxelles : Palais des académies, 1964, 197 p.
Compte-rendu en ligne in Revue belge de philologie et d'histoire,1966.
Bragard, Anne-Marie “Verdelot En Italie.” in Revue Belge De Musicologie vol. 11, no. 3/4, 1957, pp. 109–124.
Canguilhem. Philippe in Guide de la musique de la Renaissance, Fayard, 2011, p 586
Cummings. Anthony M., The Maecenas and the Madrigalist : Patrons, Patronage, and the Origins of the Italian Madrigal. (Memoirs of the American Philosophical Society, number 253.)American Historical Review Philadelphia, 2004.
Einstein, Alfred Claudio Merulo's Ausgabe der Madrigale des Verdelot. : P. 220-254, 516, in Sammelbände der Internationalen Musikgesellschaft, Leipzig, 1906/07, [VIII]
Einstein, Alfred, The Italian Madrigal: Volume III, Princeton Legacy Library, 2019, 368 p.
Fenlon Iain, Haar James,The Italian Madrigal in the Early Sixteenth Century
Sources and Interpretation, Cambridge University press,1989
Harran, Don. “‘Chi Bussa?" Or the Case of the Anti-Madrigal.” Journal of the American Musicological Society, vol. 21, no. 1, 1968, pp. 85–93.
La Via, Stefano. “Petrarca secondo Verdelot: Una rilettura di ‘Non pd far morte il dolce viso amaro’.” in Petrarca in musica, Libreria Musicale Italiana, 2006, pp. 131-54.
Lewis Hammond, Susan, The Madrigal : A Research And Information Guide, London : Routledge, 2011. 1 vol. (XVIII-356 p.) consulté le 6 Jan. 2021. URL :
Sherr. Richard Verdelot in Florence, Coppini in Rome, and the Singer, Journal of the American Musicological Society Vol. 37, No. 2 (Summer, 1984), pp. 402-411
Slim, Harry Colin "Philippe Verdelot", Grove Music Online, éd. L. Macy
Regards croisés. Musiques, musiciens, artistes et voyageurs entre France et Italie au XVe siècle, Nicoletta Guidobaldi (éd.) Paris, Minerve, 2002
Bowen, William,The contribution of french musicians to the genesis of the italian madrigal. [en ligne], consulté le11 décembre 2020
URL: https://jps.library.utoronto.ca/index.php/renref/article/download/8872/5839/
Brown, Howard Mayer. "Bossinensis, Willaert and Verdelot: Pitch and the Conventions of Transcribing Music for Lute and Voice in Italy in the Early Sixteenth Century." Revue De Musicologie 75, no. 1 (1989): 25-46.[en ligne], consulté le 19 Janvier 2021 URL: https://www.jstor.org/stable/928967
Carapezza, Paolo Emilio , Università di Palermo, "Pietro Bembo e Bernardo Pisano; Cosimo Bartoli e Philippe Verdelot". URL: http://www.ansla.it/pubblicazioni/Carapezza,%201492,%20ital%20(Completo).pdf
Fiala. David La création musicale, 1480-1520. La génération de Josquin et l’âge d’or du contrepoint vocal. HAL, 2016 [en ligne], consulté le 27 septembre 2016, URL: https://halshs.archives-ouvertes.fr/halshs-01297439/document
Glozer, Letitia ,University of North Carolina The Madrigal in Rome, Music in the papal orbit, 1520-1555 URL: https://core.ac.uk/download/pdf/210602659.pdf
Guillotel-Nothmann,Christophe, Conditional and spontaneous asymmetry of harmonic progressions in madrigal cycles from Verdelot to Monteverdi. 2017. ffhalshs-01617805f
[en ligne], consulté le 17 janvier 2021 URL: https://halshs.archives-ouvertes.fr/halshs-01617805/document
Groote, Inga Mai et Vendrix,Philippe, The Renaissance musician and theorist confronted with religious fragmentation : conflict, betrayal and dissimulation. Zurich Open Repository and Archive,2012
[en ligne],consulté le 6 Janv. 2021.
URL: https://www.zora.uzh.ch/id/eprint/69946/1/Groote_Vendrix_Renaissance_Musician_and_Theorist.pdf
Gut S. A propos des polyphonistes de la Renaissance : franco-flamand ou néerlandais. In: Revue du Nord, tome 50, n°199, Octobre-décembre 1968. pp. 535-553. [en ligne], consulté le 27 septembre 2016, URL: http://www.persee.fr/
Harran, Don. “The `Sack of Rome' Set to Music.” Renaissance Quarterly, vol. 23, no. 4, 1970, pp. 412–421. [en ligne],consulté le 6 Janv. 2021.
URL : www.jstor.org/stable/2859080
Lacas, Pierre-Paul ,VERDELOT PHILIPPE (1470?-? 1551), Encyclopædia Universalis [en ligne], consulté le 27 septembre 2016. URL: http://www.universalis.fr/encyclopedie/philippe-verdelot/
La Via, Stefano, “'Eros' and 'Thanatos': A Ficinian and Laurentian Reading of Verdelot's 'Sì Lieta e Grata Morte'.” Early Music History, vol. 21, 2002, pp. 75–116. consulté le 6 Jan. 2021. URL: www.jstor.org/stable/853900.
Nelson, Bernadette, A Parody’ on Josquin's Inviolata in Barcelona 1967: An Unknown Mass by Philippe Verdelot? . Journal of the Royal Musical Association, Vol. 127, No. 2 (2002), pp. 153-190.[en ligne], consulté le 6 Janv. 2021
URL: http://www.jstor.org/stable/3840462 et en téléchargement.
Ostrowski , Jeff ,University of Kansas, "Victimæ Paschali Laudes” Technique de composition ; le contrepoint imitatif. 2020
[en ligne], consulté le 20 aoôt 2020, URL: https://www.ccwatershed.org/2020/08/12/brebeuf-virtual-choir-victimae-paschali-philippe-verdelot/
Schmidt-Beste, Thomas, Verdelot, Philippe: Verdelot, Verdelotto, Deslouges, Des Loges, Philippe. in Die Musik in Geschichte und Gegenwart. 2 ed, vol. 16, Bärenreiter-Metzler, pp. 1428-1437, 2006, URL: https://www.mgg-online.com/mgg/stable/17206>