{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85884"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85884","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The Motets of Pierre Certon","abstract":"\"Certon was acquainted with many musicians of his day including Claudin de Sermisy (who was \"\"sous-maitre\"\" of the Sainte-Chapelle), Guillaume Morlaye, Thomas Champion and Pierre Attaingnant, as well as Sandrin and Janequin. He was especially close to Sermisy---he composed a \"\"deploration\"\" on Sermisy's death in 1562, similar to Josquin's \"\"deploration\"\" for Ockeghem in 1497. Certon's musical contacts are all the more interesting because he spent his whole life in Paris, the central musical location in France. He was therefore in close proximity to the royal court where the best musicians would have been employed. Certon's associations with these musicians and the musical life of Paris almost certainly influenced the interest and significance of his musical output.\"","abstract_html":""Certon was acquainted with many musicians of his day including Claudin de Sermisy (who was ""sous-maitre"" of the Sainte-Chapelle), Guillaume Morlaye, Thomas Champion and Pierre Attaingnant, as well as Sandrin and Janequin. He was especially close to Sermisy---he composed a ""deploration"" on Sermisy's death in 1562, similar to Josquin's ""deploration"" for Ockeghem in 1497. Certon's musical contacts are all the more interesting because he spent his whole life in Paris, the central musical location in France. He was therefore in close proximity to the royal court where the best musicians would have been employed. Certon's associations with these musicians and the musical life of Paris almost certainly influenced the interest and significance of his musical output."","abstract_has_math":false,"creators":["Canton, Lisette Michelle"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Kellman, Herbert"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:41Z","date_published":"2015-09-25T22:54:41Z","updated_at":"2026-07-22T22:26:26Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9989951"],"render_values":[{"text":"(MiAaPQ)AAI9989951","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85884","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Kellman, Herbert"]},{"key":"dc:creator","label":"Author","values":["Canton, Lisette Michelle"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:41Z","10000-01-01","2000"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85884","(MiAaPQ)AAI9989951"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"Certon was acquainted with many musicians of his day including Claudin de Sermisy (who was \"\"sous-maitre\"\" of the Sainte-Chapelle), Guillaume Morlaye, Thomas Champion and Pierre Attaingnant, as well as Sandrin and Janequin. He was especially close to Sermisy---he composed a \"\"deploration\"\" on Sermisy's death in 1562, similar to Josquin's \"\"deploration\"\" for Ockeghem in 1497. Certon's musical contacts are all the more interesting because he spent his whole life in Paris, the central musical location in France. He was therefore in close proximity to the royal court where the best musicians would have been employed. Certon's associations with these musicians and the musical life of Paris almost certainly influenced the interest and significance of his musical output.\"","Made available in DSpace on 2015-09-25T22:54:41Z (GMT). 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He was especially close to Sermisy---he composed a \"\"deploration\"\" on Sermisy's death in 1562, similar to Josquin's \"\"deploration\"\" for Ockeghem in 1497. Certon's musical contacts are all the more interesting because he spent his whole life in Paris, the central musical location in France. He was therefore in close proximity to the royal court where the best musicians would have been employed. Certon's associations with these musicians and the musical life of Paris almost certainly influenced the interest and significance of his musical output.\"","Made available in DSpace on 2015-09-25T22:54:41Z (GMT). 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