ABSTRACT
Much has been written on the issues raised in this article since it first appeared. I attempt to evaluate this literature and to develop further my own thoughts on the topic in Warwick Edwards, 'Agricola's Songs Without Words: The Sources and the Performing Traditions', Alexander Agricola: Musik zwischen Vokalitat und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch ftir Renaissancemusik, 6 (Kassel, 2006), 83-121 (transcript at https://eprints.gla. ac.uk/4576). As explained there, I am now inclined to use Tinctoris's expression cantus figuratus, rather than res facta, in connection with settings of cantus firmi drawn from pre-existent polyphonic pieces (p. 81 ). And in the aftermath of major biographical revisions applicable to Josquin, Agricola, and others I am more sceptical these days about linking the composition of songs without words to Italy (p. 91 ). Indeed, I go further in questioning what kinds of vernacular songs were composed in the south at this time in Warwick Edwards, 'Isaac's Pre-Italian Songs: An Over-Optimistic Hand-List', Essays on Renaissance Music in Honour of David Fallows, ed. Fabrice Fitch and Jacobijn Kiel (Woodbridge, 2011), 198206. In the light of all that, I remain unrepentant about omitting Martini from the list of composers commonly associated with instrumental ensemble music (p. 80), something for which Reinhard Strohm took me to task in his The Rise of European Music, 1380-1500 (Cambridge, 1993). Finally, it is gratifying to report that most of the music here referred to as unpublished in modern times is now readily available in editions that the reader will find easy enough to track down from the usual reference sources and internet aids.
