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Anthology Repertoire | |
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Series Editor's Preface | |
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Author's Preface | |
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Beginnings | |
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Music and the Cultures of the Renaissance | |
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The Craft of Composition: Two Views | |
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Changing Styles and Contexts | |
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Music and the Renaissance: Some Problems | |
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Humanism in Thought, Word, and Belief | |
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Music and the Spirit of Religious Reform | |
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Music and the Cultures of Print | |
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Music and the Renaissance Gentleman | |
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A Dialogue with the Past | |
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For Further Reading | |
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Learning to Be a Musician | |
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A Plain and Easy Introduction | |
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The Duet as Testing Ground | |
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Learning about the Modes | |
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The Lost Art of Unwritten Counterpoint | |
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Teaching Methods | |
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Sixteenth-Century Trends | |
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For Further Reading | |
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Before 1500 | |
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Music at Court and a Songbook for Beatrice | |
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The Chapelle, Chambre, and Ecurie | |
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A Wedding at Savoy | |
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Musical Patronage as Aristotle's "Magnificence" | |
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Tinctoris's "New Art" | |
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Music in Motion | |
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A Songbook for a Princess | |
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Performing Chansons at Court | |
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For Further Reading | |
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Piety, Devotion, and Ceremony | |
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Music in Church | |
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Du Fay and a New Marian Service for Cambrai | |
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Polyphony at the Margins of the Liturgy | |
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A Memorial Mass by Obrecht | |
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Dunstable, the Song of Songs, and Musical Devotion | |
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The Sound of Sacred Processions | |
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Music for Corpus Christi Processions | |
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A Ceremonial Carol | |
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Music for Ceremonies of State | |
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Du Fay's Motet for Pope and Emperor | |
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For Further Reading | |
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Structures arid Symbols in Cantus Firmus and Canon | |
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Cantus Firmus and the Ceremonial Motet | |
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The Caput Masses | |
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The L'homme arm� Tradition | |
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Ockeghem's Musical Puzzles | |
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Old Structures, New Listeners | |
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For Further Reading | |
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Around 1500 | |
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Number, Medicine, and Magic | |
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Music, Number, Proportion | |
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Theory versus Practice | |
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Music and Medicine | |
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Dowland, Du Fay, and the Sounds of Melancholia | |
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Music and Neoplatonic Magic | |
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Ficino and the Cosmic Dimension | |
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For Further Reading | |
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Music and the Ideal Courtier | |
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Castiglione's Book of the Courtier | |
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Federico da Montefeltro: The Ideal Prince | |
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The Courtier and the Theater of Appearances | |
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Songs Fit for a Courtier | |
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Seranno Aquilano, Singer and Poet | |
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Marchetto Cara and the Frottola | |
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A Frottola in Detail: Tromboncino's Ostinato vo' seguire | |
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Music, the Court Lady, and the Courtesan | |
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Fortunes of the Courtier Aesthetic | |
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For Further Reading | |
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Josquin des Prez and the "Perfect Art" | |
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Perfection in Practice: Josquin's Ave Maria… virgo serena | |
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Renaissance Images of Josquin des Prez | |
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Isaac's Competing Claim | |
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The Josquin "Brand" | |
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Josquin, Petrucci, and Music Printing | |
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By Josquin or Not? | |
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Mille regrets and the Problem of Authorship | |
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Josquin des Prez or Not? | |
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Josquin�s Pupils, Real or Imagined? | |
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Reconsidering Josquin's Genius | |
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For Further Reading | |
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Scribes, Printers, and Owners | |
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Handmade Books | |
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Music in Print | |
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Owners and Collectors: Princes, Priests, and Bankers | |
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Composers, Printers, and Publics: Who Owned Music? | |
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For Further Reading | |
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After 1500 | |
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Music and the Literary Imagination | |
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Pierre Attaingnant's Songbooks | |
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Madrigals and the Art of Pleasing Variety | |
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In a Lighter Vein | |
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Madrigal Parodies | |
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Luca Marenzio and the Madrigal of the Late Sixteenth Century | |
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Marenzio and the Avant-Garde Poets | |
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For Further Reading | |
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Music and the Crisis of Belief | |
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Sacred Sounds for a Nation of Divided Faiths | |
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From the Cantiones to Byrd's Gradualia | |
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The Reevaluation of Catholic Music | |
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Palestrina's Missa nigra sum | |
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Lasso and Counter-Reformation Munich | |
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Crossing Confessional Boundaries | |
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Protestant versus Catholic in Music | |
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Congregational Hymns among the Protestants | |
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Luther and the "Wondrous Work of Music" | |
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Vautrollier and the Spiritual Correction of Secular Songs | |
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For Further Reading | |
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The Arts of Improvisation, Embellishment, and Variation | |
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The Singing Ladies of Ferrara | |
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Courtly Improvisers, Courtly Audiences | |
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Marenzio's Overdi selve: A Madrigal for the Concerto delle Donne | |
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Learning the Arts of Embellishment from a Papal Singer | |
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Embellishment for Everyone | |
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Borrowed Melodies, "Italian Tenors," and the Art of Instrumental Variation | |
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Fantasia: Playing from Imagination | |
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Fabrizio Dentice's Solo Lute Fantasias | |
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For Further Reading | |
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Empire, Exploration, and Encounter | |
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Venice and the World | |
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Greeks and Moors | |
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Jews and Music, from Italy to England | |
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The Bassano Family | |
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French and English Protestants Abroad | |
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The Catholic Mission in New Spain | |
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Sacred Music in the Americas | |
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Matteo Ricci's Musical Encounters in China | |
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A Musical Parliament of Nations? | |
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For Further Reading | |
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Tradition and Innovation around 1600 | |
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A Madrigal by Claudio Monteverdi | |
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A Motet by Carlo Gesualdo | |
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Claude le Jeune's Dodecacorde: The Modes of Social Harmony | |
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Last Words | |
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For Further Reading | |
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Glossary | |
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Endnotes | |
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Credits | |
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Index | |