Preface | |
Prologue: Antiquity Music in the Biblical World Ancient | |
Greece Music in Ancient Greek Society | |
Greek Musical Theory Music in the Roman Empire | |
The Musical Legacies of Antiquity Music and the Cosmos Music and the Soul Music and the State | |
Theory versus Practice Vocal versus | |
Instrumental Music | |
Discussion | |
Questions | |
The Medieval Era Prelude to Part I | |
Plainchant and Secular Monophony | |
The Emergence of Plainchant | |
The Elements of Plainchant Liturgical Function Relationship of Words and Music Mode Melodic Structure Rhythm | |
The Expansion of Plainchant Secular Monophony Songs in Latin France | |
The Iberian Peninsula Germany | |
Polyphony to 1300 Orgunum Innovations in Organum Notre Dame Organum Clausula Motet Conductus | |
Mensural Notation Franconian Notation | |
Petronian Notation | |
Music in the 14th Century France: The Ars Nova Le Roman de Fauvel Polyphonic Settings of the Mass Ordinary Secular Song | |
The Ars subtilior at the End of the 14th Century Italy: The Trecento England Instrumental Music | |
Discussion | |
Questions | |
The Renaissance Prelude to Part II | |
Renaissance Humanism | |
The Protestant Reformation Renaissance | |
Painting and Sculpture Music in Renaissance Society | |
The Emergence of Renaissance Style | |
Consonance and Dissonance: Trusting the Ear | |
Sonority: The Contenance Angloise Fauxbourdon and Faburden New Sonority | |
Old Structure: Du Fayrsquo;s Nuper rosarum flores Josquinrsquo;s Ave Maria | |
Virgo Serena and The Style of the Renaissance Treatment of Text Texture | |
Cadential Structure Mode Melody Rhythm Harmony | |
The Genres of Renaissance Music, 1420-1520 Sacred Vocal Music | |
The Mass: Du Fay and Ockeghem The Mass: Josquin des Prez and His
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