Toc: Front matter (“Preface”, “Tabula Gratulatoria”, “Contents”, “Figures”, “Editions of Complete Pieces”, “Inventories”, “Tables”, “Abbreviations”, “Contributors”), p. i Free Access Naming of Parts: Notes on the Contratenor, c.1350–1450, p. 1 Margaret Bent https://doi.org/10.1484/M.EM-EB.3.2674 The Problem of Diminished Counterpoint, p. 13 Anna Maria Busse Berger https://doi.org/10.1484/M.EM-EB.3.2675 ‘Improvised’ Counterpoint in Monteverdi’s 1610 Vespers, p. 29 Tim Carter https://doi.org/10.1484/M.EM-EB.3.2676 Towards a Taxonomy of the ‘Eton Style’, p. 37 Fabrice Fitch https://doi.org/10.1484/M.EM-EB.3.2677 ‘el foglio rigato’ Revisited: Prepared Paper in Musical Composition, p. 53 Jessie Ann Owens https://doi.org/10.1484/M.EM-EB.3.2678 Aspects of Counterpoint Theory in the Tractado de canto mensurable (1535) of Matheo de Aranda, p. 63 Stephen Rice https://doi.org/10.1484/M.EM-EB.3.2679 The Beguines of Bruges and the Procession of the Holy Blood, p. 75 Barbara Haggh https://doi.org/10.1484/M.EM-EB.3.2680 The Polyphonic Proses of Guillaume Du Fay, p. 87 Alejandro Enrique Planchart https://doi.org/10.1484/M.EM-EB.3.2681 Francesco Corteccia’s Hymn for St. John’s Day in the Florentine Liturgy, c.1544–1737, p. 101 Frank A. D’Accone https://doi.org/10.1484/M.EM-EB.3.2682 The Repertoire of the Papal Chapel after the Council of Trent: Tradition, Innovation, or Decline?, p. 109 Thomas Schmidt-Beste https://doi.org/10.1484/M.EM-EB.3.2683 Imitation, Meditation, and Penance: Don Lodovico Agostini’s Le lagrime del peccatore (1586), p. 121 Laurie Stras https://doi.org/10.1484/M.EM-EB.3.2684 «In oratorio nemo aliquid agat»: Savonarola, lo spazio sacro e la musica, p. 129 Giovanni Zanovello https://doi.org/10.1484/M.EM-EB.3.2685 Marian Devotions in Early Sixteenth-Century Spain: The Case of the Bishop of Palencia, Juan Rodríguez de Fonseca (1451–1524), p. 137 Tess Knighton https://doi.org/10.1484/M.EM-EB.3.2686 The Ceremonial Soft Band of Fifteenth-Century Barcelona, p. 147 Kenneth Kreitner https://doi.org/10.1484/M.EM-EB.3.2687 An Early Seventeenth-Century Source for Performing Practices at Toledo Cathedral, p. 155 Michael Noone https://doi.org/10.1484/M.EM-EB.3.2688 Speaking of the Devil and Discipuli: Eloy d’Amerval, Saint-Martin of Tours, and Music in the Loire Valley, c.1465–1505, p. 169 Paula Higgins https://doi.org/10.1484/M.EM-EB.3.2689 Dad and Granddad Were Cops: Josquin’s Ancestry, p. 183 Herbert Kellman https://doi.org/10.1484/M.EM-EB.3.2690 ‘It’s true that Josquin composes better …’: The Short