Abstracts - American Musicological Society

54 FridaY afternoon
only on musical life under the dukes of Lorraine, but
also under the Val-ois kings of France.
This paper will focus upon the years around 1530,
a time of close political and musical bonds between the
courts of Lorraine and France. Chronicles,
ambassadorial dispatches, and unpublished archival
docunents collectively show that singers and
instrumentalists accompanied Duke Antoine on official
visits to the kingdom of France. One such musician was
Mathieu Lasson, mattre des enfants of the ducal chapel
at Nancy and a composer of chansons and motets.
Examination of Lasson's music suggests that the
composer was well-aware of the stylistic vogue then in
ful1 swing at Paris--a style typified by certain r,rorks
of Claudin de Serrnisy. Moreover, two ftagmentary music
manuscripts I recently discovered at Nancy show that
rrorks from Parisian circles (including at least one by
Claudin hinself) were known at the court of Lorraine by
1534- -precisely when pieces by Mathieu Lasson first
appeared in the offerings of the royal music printer,
Pierre Attaignant.
Together, this new musical and archival evidence
helps to reveal a 1ike1y mechanism of artistic
interchange. And just as important as the details of
the relationships themselves are what they can te11 us
about the strategies of the patrons which made thern
possible. In short the court of Lorraine holds good
promise as a mirror of French musical life.
THE CATALOGUE OF RAFFAELE PANUZZI AND THE
REPERTORY OF THE PAPAL CHAPEL IN THE SIXTEENTH CENTURY
Mitchell P. Brauner, University of Alberta
The catalogue of the holdings of the Papal Chapel
prepared by Raffaele Panuzzi in L687 has been weII
known to scholars of Roman music for many years. yet
q'hi1e this cross-listing of a1l of the pieces in the
Papal Chapel's repertory to the codices in which they
are found would seem to be an eminently useful
bibliographic tool , it has been used, heretofore ,
nainly for the reclamation of attributions to Josquin
and Ockeghem, and 1itt1e else . The caralogue is rife
with inaccuracies and collective entries. It is thus
necessary to develop a concordance between Panuzzi's
shelf numbers and those currently listed for the
Cappella Sistina collection before the catalogue can be
useful. With the concordance completed, and the
inaccuracies analyzed and overcome , Panuzzi's catalosue
yields a large amount of information; it allovs itr.
reconstruction of manuscripts that have evidently
becone lost and exposes books passed over or "arili.a
to the collection only afrer L697. Trdo lost ;;i;;."
especia11y stand out as important
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