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1570: Latin epigram in Orlande de Lassus, Mellange on the portrait of Lassus and Latin elegy to Albert of Bavaria.
Together with such recent work as Reinhard Strohm's The Rise of European Music 13801500 (Cambridge: Cambridge University Press, 1993), Keith Polk's German Instrumental Music of the Late Middle Ages (Cambridge: Cambridge University Press, 1992), and many books and articles on particular composers, manuscripts, and music contexts, Music in the German Renaissance revises the picture of the scope and significance of German-speaking musical activity in Europe in the time of Johannes Gutenberg, Desiderius Erasmus, and Martin Luther, Dufay, Isaac, and Orlande de Lassus.
Another example of the historical approach is James Haar's engagingly written chapter, in which passages from Si bona suscepimus by Orlande de Lassus are set off against similar passages in other pieces on the same text by Philippe Verdelot, Costanzo Porta, and Clemens non Papa.