Talk:Cancionero de Upsala
I always thought it was a bit strange to have a "composer" called (Anonymous (Cancionero de Upsala)). Wouldn't it be more standard if these works had only (Anonymous) on the title instead? This page could then be renamed to "Cancionero de Upsala" and made into a Music publications page. This would simplify things and avoid works being duplicated in the future (there are already many titles here duplicated at the Anonymous page, that will have to be merged). —Carlos 14:10, 25 August 2008 (PDT)
- I agree with your suggestions, Carlos. Please go ahead and make the publication page and change other details at your convenience. --Bobnotts talk 02:11, 27 August 2008 (PDT)
While researching some on the attribution of Riu, riu, chiu (Mateo Flecha el Viejo), I came across the following which I quote from Antologia polifonica practica de la epoca de los Reyes Catolicos by Robert Stevenson (available online):
- Querol Rosso's prize-winning thesis, La poesia del Cancionero de Upsala, became the basis for his "estudio introductorio sobre la poesia y la tecnica musical" that prefaces Mitjanas transcription of the fifty-four songs -- only one of which bears a composer attribution in the 1556 imprint (Nicolas Gombert, no. 49), the others all lacking ascriptions. Concordances permitted his attributing the music of nos. 7 and 10 to Juan del Encina; 26, 35, and 36 to Mateo Flecha; 23 to Carceres; 34 to Juan Aldomar; and of considering as possible composers Mateo Flecha of nos. 33, 45, 46, 51, and 52; Juan Vasquez of nos. 29, 32, and 50; Cristobal de Morales of no. 13; and Encina additionally of no. 25.
- Excellent infos, Chuck, thanks for sharing! —Carlos 18:05, 26 October 2009 (UTC)