Peter Woetmann Christoffersen
Prepublication, August 2009 (revised October 24, 2009) of
Content
Article on the restoration, p. 3
Edition A: Antoine Busnoys, “In mijnen sijn” restored, p. 20
Edition B: Antoine Busnoys, “In myne zynn” after Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, p. 24
Edition C: Antoine Busnoys, “Le second jour d’avril” after Canti C, O. Petrucci, Venezia 1504, p. 28
An important part of my discussion of Busnoys’ “In mijnen sijn” can be found in the three musical editions appended to this article. They encompass editions of the song’s only two complete sources, which both date from the first decade of the 16th century, and which both raise questions about how to understand the music to anybody who whish to perform the song, as well as my attempt to answer these questions by means of a restoration of the song. The process of restoration on its side highlights some issues of importance to our perception of the development of compositional practice in the second part of the fifteenth century especially concerning the extent and meaning of the roles of key signatures, strict canon techniques and the development of polyphonic settings of popular songs. Furthermore, this Flemish song has not in my opinion received its deserved attention from musicology.