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