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W. W. Norton & Company : College Books

Renaissance Music

Overview

  • PART ONE: THE 1380s TO THE 1420s
  • CHAPTER 1 - The "English Sound"
    • The English Sound
    • Anglo-Continental Contacts
    • Other English Features
    • A Dunstable Work in Detail
    • The Carol
    • Bibliographical Note
  • CHAPTER 2 - Intermedio: 1414–1418
  • CHAPTER 3 - The Low Countries
    • The French Ars nova
    • The New Central Tradition
    • Musical Training
    • Johannes Ciconia
    • The Significance of the Low Countries
    • Bibliographical Note
  • CHAPTER 4 - Editing a Chanson: The Notation
  • PART TWO: THE 1420s TO THE 1460s
  • CHAPTER 5 - French Secular Song
    • The Formes Fixes I
    • Aspects of the Poetry
    • Du Fay’s Musical Style
    • Performance Practice
    • Gilles de Bins (dit Binchois)
    • Bibliographical Note
  • CHAPTER 6 - Intermedio: 1424–1428
  • CHAPTER 7 - The Old Motet and the New
    • Definitions
    • An Isorhythmic Motet: Du Fay’s Nuper rosarum flores
    • Mode and Polyphony
    • A "Tenor" Motet: Du Fay’s Ave regina caelorum (III)
    • Du Fay’s Life
    • Bibliographical Note
  • CHAPTER 8 - Learning from Documents: Payroll and Inventory Notices
  • CHAPTER 9 - The Cyclic Mass and Vespers
    • The Structure of the Mass
    • The Fourteenth-Century Legacy
    • The Early Fifteenth Century
    • The Cyclic Cantus-Firmus Mass: The English Contribution
    • Du Fay’s Cantus-Firmus Cycles
    • A Fictive Composition Manual
    • Why the Cyclic Cantus-Firmus Mass?
    • Proper and Plenary Cycles
    • Music for the Vespers Service
    • Liturgical Books
    • The Liturgical Calender Performance
    • Practice
    • Bibliographical Note
  • CHAPTER 10 - Intermedio: 1453–1454
  • PART THREE: THE 1450s TO THE 1480s
  • CHAPTER 11 - Toward Abstraction in Mass and Motet
    • Artifice and Complexity I
    • The L’homme armé Tradition
    • Antoine de Busne (dit Busnoys)
    • Artifice and Complexity II
    • Johannes Ockeghem
    • Some Important Music Manuscripts
    • Artifice and Complexity III
    • Ockeghem’s Style
    • Artifice and Complexity IV
    • The Five-Voice Tenor Motet
    • Two Problematic Biographies
    • Bibliographical Note
  • CHAPTER 12 - Learning from Documents: An Ecclesiastical Notice
  • CHAPTER 13 - The Patronage of Music
    • The Chapels
    • The Singers
    • The Patrons
    • Bibliographical Note
  • CHAPTER 14 - More Secular Song
    • The Formes Fixes II
    • The Combinative Chanson
    • The "Hit Parade"
    • The Chansonniers
    • England, Germany, and Spain
    • Italy
    • Bibliographical Note
  • CHAPTER 15 - Intermedio: 1467–1469
  • CHAPTER 16 - Instrumental Music and Two Theorists
    • Keyboard Music
    • Instrumental Ensemble Music
    • Dance Music
    • Postscript: Two Theorists
    • Bibliographical Note
  • CHAPTER 17 - Editing a Chanson: Musica Ficta
  • PART FOUR: THE 1470s TO THE 1520s
  • CHAPTER 18 - Inventions in Style and Transmission
    • Pervading Imitation
    • New Relationships between Voices
    • Josquin Desprez
    • Music and the Printing Press
    • Bibliographical Note
  • CHAPTER 19 - Intermedio: 1492
  • CHAPTER 20 - The Virtuoso Motet
    • Music and Text
    • Canons
    • Symbolism
    • The Function of the Motet
    • ibliographical Note
  • CHAPTER 21 - Editing a Chanson: Text Underlay
  • CHAPTER 22 - Continuity and Transformation in the Mass
    • The Heart of the Tradition
    • Masses Built on Multiple Cantus Firmi
    • Three Local Mass Types
    • Performance Practice
    • Bibliographical Note
  • CHAPTER 23 - Intermedio: 1513–1521
  • CHAPTER 24 - Old Ends and New Beginnings in Song
    • The End of the Formes Fixes
    • The Courtly Tradition Continued
    • The Popular Tradition
    • Josquin and the Popular Tradition
    • Italy
    • Spain
    • Germany
    • Bibliographical Note
  • CHAPTER 25 - Instrumental Music
    • Ensemble Music
    • The Ensembles
    • Keyboard Music
    • Lute Music
    • A Trumpet Manufacturer
    • Bibliographical Note
  • PART FIVE: THE 1520s TO THE 1550s
  • CHAPTER 26 - The Catholic Church and Its Music
    • The Motet
    • Music for the Mass
    • Vespers Psalms for cori spezzati
    • The Use of Scores
    • Bibliographical Note
  • CHAPTER 27 - National Song Styles
    • The Chanson
    • The Madrigal
    • The Lied
    • Bibliographical Note
  • CHAPTER 28 - Intermedio: 1533–1536
  • CHAPTER 29 - The Growth of Music Printing
    • Printers
    • Composers
    • Consumers
    • Bibliographical Note
  • CHAPTER 30 - Editing a Chanson: Barring, Sources, Critical Report
  • CHAPTER 31 - Instrumental Music to the End of the Century
    • Transcriptions Based on Vocal Models
    • Settings of Chant Melodies
    • Variations
    • Performance Practice
    • The Ricercar
    • The Canzona
    • Preludes and Toccatas
    • Dance Music
    • Bibliographical Note
  • CHAPTER 32 - Intermedio: 1543–1547
  • CHAPTER 33 - The Protestant Reformation
    • Luther
    • Zwingli
    • Calvin
    • The Dutch Souterliedekens
    • Bibliographical Note
  • CHAPTER 34 - Early Tudor England
    • The Tudor Dynasty
    • Secular Song at the Court of Henry VIII
    • Pre-Reformation Sacred Music: The Eton Choirbook
    • The Mass between Eton and the Reformation
    • Faburdens and Squares
    • The English Reformation
    • Music for the Anglican Church
    • Bibliographical Note
  • PART SIX: THE 1550s TO 1600
  • CHAPTER 35 - Music Theory
    • Glarean and the Modes
    • Vicentino and Chromaticism
    • Zarlino and Counterpoint
    • Bibliographical Note
  • CHAPTER 36 - Intermedio: 1560–1562
  • CHAPTER 37 - The Counter-Reformation in Italy and Spain
    • The Council of Trent I
    • Palestrina
    • The Council of Trent II
    • Venice
    • Spain
    • Performance Practice
    • Bibliographical Note
  • CHAPTER 38 - Music in the Service of Words
    • Antiquarianism
    • Lassus
    • The Italian Madrigal
    • The Lighter Forms
    • The Ladies of Ferrara
    • Talking about Music
    • Bibliographical Note
  • CHAPTER 39 - Intermedio: 1588–1590
  • CHAPTER 40 - Elizabethan England
    • The Late Tudors: Mary and Elizabeth
    • The Centralization of Music
    • Latin Church Music
    • Music for the Anglican Church
    • Secular Song
    • Instrumental Music
    • Bibliographical Note

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