Who was Knud Jeppesen, and what were his primary fields of expertise?

Knud Jeppesen, born August 15, 1892, and deceased June 14, 1974, was a Danish musicologist and composer. He is most renowned as the leading scholar on the composer Giovanni Pierluigi da Palestrina, having authored numerous studies concerning Palestrina's life and musical works.

What were Knud Jeppesen's early musical experiences and educational path?

Jeppesen displayed musical aptitude at age 10, receiving early encouragement from Hakon Andersen and Paul Hellmuth, though he was largely self-taught. After completing his primary education in 1911, he worked as an opera coach and conductor in Elbing and Liegnitz, Germany. He returned to Denmark in 1914 due to the outbreak of World War I. In Copenhagen, he studied musicology at Copenhagen University under Angul Hammerich and also received instruction from prominent Danish composers Carl Nielsen and Thomas Laub.

How did Knud Jeppesen obtain his doctorate in musicology?

Knud Jeppesen passed his organist examination at the Royal Danish Conservatory of Music in 1916. Since there was no faculty member at Copenhagen University equipped to examine his advanced work, he submitted his dissertation to the University of Vienna. The dissertation was reviewed by Guido Adler, who awarded Jeppesen his doctorate in 1922.

What significant church organist positions did Knud Jeppesen hold in Copenhagen?

Jeppesen served as the organist at St. Stephen's Church in Copenhagen from 1917 to 1932. Subsequently, he held the position of organist at Holmen Church in Copenhagen from 1932 until 1947.

Where did Knud Jeppesen teach musicology, and what academic institution did he help establish?

He taught music theory at the Royal Danish Academy of Music from 1920 to 1947. In 1946, Jeppesen was appointed to the newly created position of professor of musicology at Aarhus University. There, he founded an Institute of Musicology in 1950, which he directed until his retirement in 1957.

Who were some of Knud Jeppesen's notable students?

Among Knud Jeppesen's students were the composers Vagn Holmboe, whom he taught in Copenhagen, and Bent Lorentzen, whom he taught in Aarhus.

What were Knud Jeppesen's activities and location after his retirement?

After retiring in 1957, Jeppesen resided in Italy. This move facilitated his ability to conduct extensive primary research in Italian libraries, leading to significant discoveries and the eventual publication of his major scholarly work.

What is considered Knud Jeppesen's magnum opus, and what subject did it cover?

Knud Jeppesen's magnum opus is *La frottola*, published between 1968 and 1970. This comprehensive work is a detailed study and bibliography of frottole, which were the principal genre of Italian popular, secular songs during the late fifteenth and early sixteenth centuries.

What international musicological organizations was Knud Jeppesen associated with?

Jeppesen was actively involved with the International Musicological Society from 1927 until his death, serving as its president from 1949 to 1952. He was also elected as a member of the prestigious Italian Accademia dei Lincei in 1963.

What specific area of musical study is Knud Jeppesen most famously associated with?

Knud Jeppesen's name is invariably linked to the study of musical counterpoint, with a particular specialization in the polyphonic style of Giovanni Pierluigi da Palestrina, of whom he was considered the foremost scholar.

What is the significance of Knud Jeppesen's 1930 book, *Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century*?

This seminal work, originally published in Danish as *Kontrapunkt*, became a standard textbook on sixteenth-century vocal counterpoint upon its release. It was subsequently translated into German in 1935 and English in 1939, and remains influential and in print today, although its final edition is untranslated.

What was the focus and impact of Jeppesen's doctoral dissertation?

His doctoral dissertation, later expanded and published in English in 1927 as *The Style of Palestrina and the Dissonance*, focused on Palestrina's treatment of dissonance. The *New Grove Dictionary* recognizes this work as a highly distinguished and influential example of stylistic analysis from that period.

What periods and geographical regions did Jeppesen's musicological writings primarily address?

Jeppesen's published writings predominantly concerned music composed by Italian and Danish composers during the sixteenth and seventeenth centuries. His work involved extensive primary research, including locating and preparing editions of early musical scores.

What significant discovery did Knud Jeppesen make regarding Palestrina's compositions?

In 1949, Jeppesen discovered ten previously unknown masses by Giovanni Pierluigi da Palestrina. He also completed the first comprehensive thematic catalog of Palestrina's entire musical output in 1962.

What was Knud Jeppesen's initial experience with composition, and when did he resume composing?

Jeppesen's early compositions were met with poor reception, causing him to cease composing in 1919. He later resumed his compositional activities after a hiatus of fifteen years.

What types of musical works did Knud Jeppesen compose?

Jeppesen composed a variety of musical works, including well-crafted songs often set to Danish texts, church music, motets, cantatas, organ music, and an opera.

What was the title of Knud Jeppesen's opera, and when and where was it performed?

Knud Jeppesen's opera was titled *Rosaura*. It premiered on September 20, 1950, and was performed by the Royal Danish Theatre.

How did Knud Jeppesen's compositional style reflect his musicological expertise?

His compositional style integrated his profound knowledge of early counterpoint, particularly Palestrina's techniques. It also incorporated elements from the style of late Viennese Romantics, such as Gustav Mahler, demonstrating a blend of historical and contemporary influences.

What was the nature of Knud Jeppesen's association with Carl Nielsen?

From 1916 to 1931, Knud Jeppesen was Carl Nielsen's closest associate. During this period, Jeppesen also authored several important articles discussing Nielsen's music and life.

What is the earliest listed composition by Knud Jeppesen, and for what instrumentation?

The earliest listed composition is "Nordisk Festmarche" from 1906. It was written for three violins, cello, and harmonium or piano.

What genre does the source text assign to Knud Jeppesen's 1911 composition *Staka*?

The source text describes *Staka*, composed in 1911, as a symphonic poem intended for tenor and piano.

Who wrote the text for Knud Jeppesen's 1912 composition titled 'Foraar'?

The text for Knud Jeppesen's 1912 composition 'Foraar' was written by Johannes Jørgensen.

What type of musical work is the 1937 composition 'Domine, refugium factus es nobis'?

The 1937 composition 'Domine, refugium factus es nobis' is a cantata scored for soprano soloist and either a flute or a violin solo.

For what occasion was Knud Jeppesen's 'Te Deum Danicum' composed around 1942-1945?

The 'Te Deum Danicum', composed between 1942 and 1945, was created for the inauguration of the Danish Radio concert hall.

What is the genre and instrumentation of Knud Jeppesen's 1941 composition 'Lille Sommertrio'?

The 1941 composition 'Lille Sommertrio', also known as 'Little Summer Trio', is a chamber music piece written for flute, cello, and piano.

What specific work by Dietrich Buxtehude did Knud Jeppesen edit in 1946?

In 1946, Knud Jeppesen edited Dietrich Buxtehude's motet titled 'Min Gud er med mig (Der Herr ist mir)'.

What did Knud Jeppesen's 1930 work *Kontrapunkt* (Counterpoint) analyze?

Knud Jeppesen's 1930 work *Kontrapunkt* analyzed the principles of vocal polyphony, specifically focusing on the musical style prevalent in the sixteenth century. It explored techniques related to harmony, melody, and the treatment of dissonance within that period's compositional practices.

What specific aspect of Palestrina's musical technique was examined in Jeppesen's doctoral thesis?

Jeppesen's doctoral thesis, published in English as *The Style of Palestrina and the Dissonance*, specifically investigated and analyzed how Palestrina handled dissonances within his polyphonic compositions, examining the rules and conventions governing their use.

What was the purpose of the 'Dania Sonans' series founded by Knud Jeppesen?

The 'Dania Sonans' series was founded by Jeppesen to publish editions of early Danish music. He served as its founding editor, aiming to make historical Danish compositions more accessible to scholars and musicians.

What did Knud Jeppesen's 1939 paper titled 'Venetian Folk-Songs of the Renaissance' investigate?

This paper investigated the presence, characteristics, and influence of Venetian folk songs within the broader context of Renaissance music composition.

What subject matter was covered in Knud Jeppesen's 1943 publication *Die italienische Orgelmusik am Anfang des Cinquecento*?

Jeppesen's 1943 publication, *Die italienische Orgelmusik am Anfang des Cinquecento*, focused on Italian organ music from the early 16th century, exploring its stylistic developments, key composers, and significant works of that era.

What contribution did Knud Jeppesen's 1953 paper 'Pierluigi da Palestrina, Herzog Guglielmo Gonzaga und die neugefundenen Mantovaner-Messen Palestrinas' make?

This paper served as a supplementary report, offering further details on the relationship between Palestrina and Duke Guglielmo Gonzaga, and elaborating on the significance and context of the newly discovered Mantuan masses composed by Palestrina.

What specific challenges in musical notation did Jeppesen address in his 1961 paper?

In his 1961 paper, Jeppesen discussed technical issues related to musical notation during the 16th century. This included observations on the use of bar lines in scores and other related notational practices of the period.

What was the subject of Knud Jeppesen's 1962 paper titled 'Ein altvenetianisches Tanzbuch'?

The paper 'Ein altvenetianisches Tanzbuch' focused on an old Venetian dance book, likely analyzing its musical content, notation, and historical significance related to dance music traditions in Venice.

What question did Knud Jeppesen's 1968 paper 'Monteverdi, Kapellmeister an S. Barbara?' explore?

This paper explored the historical question of whether Claudio Monteverdi served as the Kapellmeister, or music director, at the church of Santa Barbara in Mantua.

What did Knud Jeppesen's 1969 paper 'An Unknown Pre-Madrigalian Music Print' examine in relation to other sources?

The paper examined an unidentified music print from the period preceding the widespread development of the madrigal genre. It analyzed this print's connections and relationships to other relevant Italian musical sources from approximately 1520 to 1530.

What was the primary focus of Knud Jeppesen's musicological research concerning the Renaissance period?

Jeppesen's musicological research primarily concentrated on Renaissance and early Baroque music. He had a special focus on the polyphonic vocal music of the 16th century, particularly the works of Giovanni Pierluigi da Palestrina and related genres such as the frottola.

What role did Guido Adler play in Knud Jeppesen's academic career and musical interests?

Guido Adler was the professor at the University of Vienna who reviewed Knud Jeppesen's doctoral dissertation, leading to Jeppesen receiving his doctorate in 1922. Adler also played a role in introducing Jeppesen to the music of Gustav Mahler.

What is the significance of the *Missa Papae Marcelli* in the context of Palestrina and Jeppesen's scholarship?

The *Missa Papae Marcelli* (Mass for Pope Marcellus) is one of Palestrina's most celebrated works and a key example of Renaissance polyphony. As a leading Palestrina scholar, Jeppesen extensively studied this mass, likely analyzing its contrapuntal techniques, as referenced in his work on Palestrina's style.

What does the term *frottole* refer to in Knud Jeppesen's scholarly work?

In Knud Jeppesen's work, *frottole* refers to the primary genre of Italian popular, secular songs that flourished during the late 15th and early 16th centuries. His major publication, *La frottola*, is dedicated to the study of this musical form.

How did Knud Jeppesen contribute to the preservation and study of Danish music history?

Jeppesen made significant contributions to Danish music history by founding and editing the 'Dania Sonans' series, which published editions of early Danish musical works. He also authored important articles on Danish composers like Carl Nielsen and contributed to the field of Danish hymnology.

How did Knud Jeppesen's musicological expertise influence his own compositions?

Jeppesen's compositions, particularly his songs and sacred music, often incorporated his deep understanding of historical counterpoint, especially the style of Palestrina. His music also reflected influences from later periods, such as late Viennese Romanticism, showing a synthesis of his scholarly knowledge and personal style.

What specific discoveries did Knud Jeppesen make during his research in Italian libraries after retirement?

After retiring to Italy, Jeppesen made several significant discoveries in Italian libraries. Most notably, he found ten previously unknown masses composed by Giovanni Pierluigi da Palestrina, which he announced in 1949.

What was the primary focus of Knud Jeppesen's musicological research concerning Giovanni Pierluigi da Palestrina?

Jeppesen's primary focus regarding Palestrina was on analyzing his musical style, particularly his mastery of counterpoint and his innovative treatment of dissonance, as detailed in influential works like *The Style of Palestrina and the Dissonance*.

What is the significance of the University of Vienna in Knud Jeppesen's academic career?

The University of Vienna is significant because it was where Knud Jeppesen successfully defended his dissertation and was awarded his doctorate in 1922, under the review of Guido Adler.

What was Knud Jeppesen's role and tenure as president of the International Musicological Society?

Knud Jeppesen was actively involved in the International Musicological Society from 1927 until his death. He held the position of president for a three-year term, from 1949 to 1952.

What is the significance of Knud Jeppesen's membership in the Accademia dei Lincei?

Knud Jeppesen's membership in the Accademia dei Lincei, which began in 1963, signifies his recognition and standing within a highly respected Italian academic institution dedicated to the sciences and humanities.

What is the genre of Knud Jeppesen's 1944 composition titled 'Haglskyen'?

The 1944 composition 'Haglskyen' is an 8-part male chorus. The text for this piece was written by Knud Wiinstedt.

What did Knud Jeppesen's 1935 German translation of his counterpoint work cover?

The 1935 German translation of his work *Kontrapunkt* covered the polyphonic vocal style of the sixteenth century, making his analysis of Renaissance counterpoint accessible to a German-speaking audience.

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Biography

Early Life and Musical Aptitude

Knud Jeppesen (15 August 1892 – 14 June 1974) was a Danish musicologist and composer. Demonstrating remarkable musical talent from a young age, he was largely self-taught, though he received early encouragement from Hakon Andersen and Paul Hellmuth. After completing primary education in 1911, Jeppesen initially worked as an opera coach and conductor in Elbing and Liegnitz, Germany. The outbreak of war prompted his return to Denmark.

Academic Pursuits and Doctorate

In Copenhagen, Jeppesen studied under prominent Danish composers Carl Nielsen and Thomas Laub, and pursued musicology at Copenhagen University with Angul Hammerich. He earned his organist certification from the Royal Danish Conservatory of Music in 1916. Lacking a faculty member at Copenhagen capable of examining his doctoral work, he submitted his dissertation to the University of Vienna. There, under the review of Guido Adler, he was awarded his doctorate in 1922.

Career in Academia and Music

Jeppesen served as an organist at St. Stephen's Church (1917–1932) and later at Holmen Church (1932–1947) in Copenhagen. He also taught music theory at the Royal Danish Academy of Music from 1920 to 1947, contributing to its board of directors. In 1946, he established the Institute of Musicology at Aarhus University, serving as its first professor and director until 1957. His influence extended to students like composers Vagn Holmboe and Bent Lorentzen.

Later Life and Frottole Research

Following his retirement in 1957, Jeppesen resided in Italy. This period allowed him to conduct significant research in Italian libraries, culminating in his magnum opus, La frottola (1968–70). This extensive study and bibliography focused on the frottole, a key genre of Italian popular secular songs from the late 15th and early 16th centuries. He remained active in the International Musicological Society, serving as its president from 1949 to 1952, and was elected to the Italian Accademia dei Lincei.

Musicology: Palestrina and Counterpoint

Leading Palestrina Scholar

Knud Jeppesen is most renowned for his profound scholarship on the Renaissance composer Giovanni Pierluigi da Palestrina. He is considered the foremost authority on Palestrina's life and music. His meticulous research and analysis set new standards for understanding 16th-century polyphonic vocal style.

Seminal Textbooks

Jeppesen's 1930 work, Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, became an indispensable textbook upon its publication in German and English, remaining in print for decades. His doctoral thesis, expanded and published in English as The Style of Palestrina and the Dissonance (1927), is cited as a highly distinguished and influential example of stylistic analysis in musicology.

Research and Discovery

His published works primarily focus on Italian and Danish composers of the 16th and 17th centuries. Jeppesen dedicated himself to primary source research, locating and preparing critical editions of early scores. Notably, he discovered ten previously unknown masses by Palestrina in 1949 and completed the first comprehensive thematic catalog of Palestrina's oeuvre in 1962.

Musical Compositions and Style

Return to Composition

After an initial period where his early compositions were not well-received, leading him to cease composing in 1919, Jeppesen resumed his creative work after a fifteen-year hiatus. His compositional output includes well-crafted songs, significant church music, motets, cantatas, organ works, and an opera.

Opera and Hymnology

His opera, Rosaura, based on texts by himself and Carlo Goldoni, premiered at the Royal Danish Theatre in 1950. Jeppesen also made substantial contributions to Danish hymnology, with pieces like Bygen flygter, Forunderligt så sødt et smil becoming classics performed by Danish church choirs.

Stylistic Influences

Jeppesen's musical style masterfully integrates his deep knowledge of early counterpoint with the expressive language of late Viennese Romantics, including Gustav Mahler, whom he met through Guido Adler. He was also a close associate of Carl Nielsen from 1916 to 1931, contributing significantly to the understanding of Nielsen's symphonic works through his writings.

Selected Compositions

Catalog of Works

Jeppesen composed across various genres throughout his career. Below is a selection of his notable works:

1906 "Nordisk Festmarche" for 3 violins, cello, harmonium or piano
1911 Staka, Symphonic poem (tenor and piano)
1912 "Foraar" for soloists and orchestra (text: Johannes Jørgensen)
1915 String quartet in F (student composition)
1919 Violin sonata
1925 Kantate for Rungsted Kostskoles Samfund
1930 Sonatine in C major (piano)
1934 Gud, vend øren til min Bøn (Motet 4-part mixed choir)
1935 Hvad er et Menneske? (Motet for 4-part mixed choir)
1936 Reformation Cantata
1937 Domine, refugium factus es nobis – Cantata for soprano, and flute or violin solo
1938 Sjællandsfar (symphony)
1940 To Patetiske sange
1941 Horn concerto
1941 Lille Sommertrio (Little Summer Trio) (for flute, cello and piano)
1942 Prelude and fugue in E minor (organ)
1942/45 Te Deum Danicum (for the opening of the Danish Radio concert hall)
1944 Lille trio (La primavera)
1944 Haglskyen (8 part male chorus. Text: Knud Wiinstedt)
1945 Dronning Dagmar Messe
1946 Kantate ved indvielsen af Aarhus Universitets hovedbygning
1949 Ørnen og skarnbassen (for the Københavns Drengekors 25 year jubilee)
1950 Rosaura, opera in three acts after texts by the composer and Carlo Goldoni
1951 Kantate ved genindvielsen af Haderslev Domkirke
1951 "Du gav mig o herre en lod af din jord" (C. R. Sundell)
1951 Dagen viger og gaar bort, cantata for alto soloist, mixed chorus, string orchestra or organ (text: Dorothea Engelbretsdatter)
1952 Kantate ved Det Jyske Musikkonservatoriums 25-års jubilæum
1953 Vintergæk er brudt af mulden (Hymn)
1957 50 choral preludes for organ
1965 (?) Passacaglia (organ)
Intonazione boreale (organ)
Landsbymusik (small orchestra)

Critical Editions

Scholarly Publications

Jeppesen meticulously prepared editions of significant musical works, often accompanied by detailed annotations and commentary. His work in this area was crucial for the preservation and study of early music.

with V. Brøndal: Der Kopenhagener Chansonnier (Copenhagen, 1927, 2 cd edition 1965)
Værker af Mogens Pedersøn, Dania sonans, i (Copenhagen, 1933)
with V. Brøndal: Die mehrstimmige italienische Laude um 1500 (Leipzig and Copenhagen, 1935 (revised))
Die italienische Orgelmusik am Anfang des Cinquecento (Copenhagen, 1943, enlarged 2 cd edition 1960)
Dietrich Buxtehude: Min Gud er med mig (Der Herr ist mit mir), Samfundet til udgivelse af dansk musik, 3rd ser., lxxxix (Copenhagen, 1946)
La flora, arie &c. antiche italiane (Copenhagen, 1949)
Giovanni Pierluigi da Palestrina: Le messe di Mantova, Le opere complete, xviii–xix (Rome, 1954)
Balli antichi veneziani per cembalo (Copenhagen, 1962)
Italia sacra musica: musiche corali italiane sconosciute della prima metà del Cinquecento (Copenhagen, 1962)
Founding editor of Dania Sonans, issuing editions of early Danish music.

Scholarly Writings

Academic Publications

Jeppesen authored numerous influential articles and books throughout his career, contributing significantly to the fields of musicology, music theory, and historical musicology.

"Die Dissonanzbehandlung bei Palestrina" (diss., University of Vienna, 1922; enlarged Copenhagen, 1923, as Palestrinastil med saerligt henblik paa dissonansbehandlingen; Ger. trans., 1925; Eng. trans. as The Style of Palestrina and the Dissonance, 1927, 2/1946 (revised))
"Das 'Sprunggesetz' des Palestrinastils bei betonten Viertelnoten (halben Taktzeiten)", Musikwissenschaftlicher Kongress: Basel 1924, pp. 211–19
"Johann Joseph Fux und die moderne Kontrapunkttheorie", Deutsche Musikgesellschaft: Kongress I: Leipzig 1925, pp. 187–8
"Das isometrische Moment in der Vokalpolyphonie", Festschrift Peter Wagner, ed. K. Weinmann (Leipzig, 1926), pp. 87–100
"Über einen Brief Palestrinas", Festschrift Peter Wagner, ed. K. Weinmann (Leipzig, 1926), pp. 100–07
"Die Textlegung in der Chansonmusik des späten 15. Jahrhunderts", Beethoven-Zentenarfeier: Vienna 1927, pp. 155–57
"Die neuentdeckten Bücher der Lauden des Ottaviano dei Petrucci und andere musikalische Seltenheiten der Biblioteca Colombina zu Sevilla", Zeitschrift für Musikwissenschaft, xii (1929–30), pp. 73–89.
Kontrapunkt (vokalpolyfoni) [Counterpoint] (Copenhagen, 1930, 3rd ed. 1962; Ger. trans., 1935, 5/1970; Eng. trans., 1939, 2 cd edition)
"Wann entstand die Marcellus-Messe?", Studien zur Musikgeschichte: Festschrift für Guido Adler (Vienna, 1930), pp. 126–36
"Die 3 Gafurius-Kodizes der Fabbrico del Duomo, Milano", Acta Musicologia, iii (1931), 14–28
"Ein venezianisches Laudenmanuskript", Theodor Kroyer: Festschrift, ed. H. Zenck, H. Schultz and W. Gerstenberg (Regensburg, 1933), p. 69–76
"Diderik Buxtehude" (Dieterich Buxtehude), Dansk musiktidsskrift, xii (1937), p. 63–70
"Rom og den danske musik", Rom og Danmark gennem tiderne, ii, ed. L. Bobé (Copenhagen, 1937), pp. 153–76
"Über einige unbekannte Frottolenhandschriften", Acta Musicologia, xi (1939), pp. 81–114
"Venetian Folk-Songs of the Renaissance", papers of the American Musicological Society, 1939, pp. 62–75
"Eine musiktheoretische Korrespondenz des frúheren Cinquecento", Acta Musicologia, xiii (1941), pp. 3–39
"Das Volksliedgut in den Frottolenbüchern des Octavio Petrucci (1504–1514)", Emlékkönyv Kodály Zoltán hatvanadik születésnapjára, ed. B. Gunda (Budapest, 1943), pp. 265–74
"Marcellus-Probleme", Acta Musicologia, xvi–xvii (1944–5), pp. 11–38
"Choralis Constantinus som liturgisk dokument", Festskrift til O.M. Sandvik, ed. O. Gurvin (Oslo, 1945), pp. 52–82
"Et nodefund paa Konservatoriet", Dansk musiktidsskrift, xx (1945), pp. 41–7, pp. 67–70
"Carl Nielsen, a Danish Composer", Music Review, vii (1946), pp. 170–77
"Zur Kritik der klassischen Harmonielehre", International Musicological Society Congress Report IV: Basel 1949, pp. 23–34
"The Recently Discovered Mantova Masses of Palestrina: a Provisional Communication", Acta Musicologia, xxii (1950), pp. 36–47
"Pierluigi da Palestrina, Herzog Gugliemo Gonzaga und die neugefundenen Mantovaner-Messen Palestrinas: ein ergäzender Bericht", Acta Musicologia, xxv (1953), pp. 132–79
"Cavazzoni-Cabezón", Journal of the American Musicological Society, viii (1955), pp. 81–5
"Eine frühe Orgelmesse aus Castell'Arquato", Archiv für Musikwissenschaft, xii (1955), pp. 187–205
"Palestriniana: ein unbekanntes Autogramm und einige unveröffentlichte Falsibordoni des Giovanni Pierluigi da Palestrina", Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), pp. 417–30
"Et par notationstekniske problemer i det 16. aarhundredes musik og nogle dertil knyttede iagttagelser (taktindelling partitur)", Svensk tidskrift för musikforskning, xliii (1961), pp. 171–93
"Ein altvenetianisches Tanzbuch", Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962), pp. 245–63
"Über italienische Kirchenmusik in der ersten Hälfte des 16. Jahrhunderts", Studia musicologica Academiae scientiarum hungaricae, iii (1962), pp. 149–60
"Carl Nielsen paa hundredaarsdagen: nogle erindringer", Dansk aarbog for musikforskning, iv (1964–5), pp. 137–50
"The Manuscript Florence Biblioteca Nazionale Centrale, Banco rari 230: an Attempt at Diplomatic Reconstruction", Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966 revised), pp. 440–47
"Monteverdi, Kapellmeister an S. Barbara?", Claudio Monteverdi e il suo tempo: Venice, Mantua and Cremona 1968, pp. 313–22
La frottola (Århus and Copenhagen, 1968–70)
"An Unknown Pre-Madrigalian Music Print in Relation to other Contemporary Italian Sources (1520–1530)", Studies in Musicology: Essays … in Memory of Glen Haydon, ed. J.W. Pruett (Chapel Hill, NC, 1969), pp. 3–17
"Alcune brevi annotazioni sulla musicologia", Scritti in onore di Luigi Ronga (Milan and Naples, 1973), pp. 275–78

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Knud Jeppesen: Architect of Musical Understanding

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Biography 📜

👶 Early Life and Musical Aptitude

🎓 Academic Pursuits and Doctorate

🏛️ Career in Academia and Music

🇮🇹 Later Life and Frottole Research

Musicology: Palestrina and Counterpoint 📚

🎼 Leading Palestrina Scholar

✍️ Seminal Textbooks

🔍 Research and Discovery

Musical Compositions and Style 🎶

🎵 Return to Composition

🎭 Opera and Hymnology

💡 Stylistic Influences

Selected Compositions 🎼

📜 Catalog of Works

Critical Editions 📖

📄 Scholarly Publications

Scholarly Writings ✍️

📚 Academic Publications

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Dive in with Flashcard Learning!

Biography

Early Life and Musical Aptitude

Academic Pursuits and Doctorate

Career in Academia and Music

Later Life and Frottole Research

Musicology: Palestrina and Counterpoint

Leading Palestrina Scholar

Seminal Textbooks

Research and Discovery

Musical Compositions and Style

Return to Composition

Opera and Hymnology

Stylistic Influences

Selected Compositions

Catalog of Works

Critical Editions

Scholarly Publications

Scholarly Writings

Academic Publications

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

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