Abstract
The motet Laudate Dominum de caelis, copied in Vatican City, Biblioteca Apostolica Vaticana, Ms. Cappella Sistina 42 c. 1509-12, is distinctive in Brumel’s output, bearing many of the hallmarks of the so-called ‘Milanese’ style. This article addresses its sources, style, and technical construction in the context of some of Brumel’s other motets and of Joshua Rifkin’s recent research on the French-court motet around 1500, as exemplified by the motets of Josquin and Mouton. Analyses of local contrapuntal structures and of the motet’s overall form offer a view of Brumel’s working methods. These considerations lead to a picture of the motet as a product of Brumel’s engagement with a French-court motet repertory in the first decade of the sixteenth century.
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