Music from the Earliest Notations to the Sixteenth Century

ANNA (madrigalist patron), 353 , 356

Annunciation, 420 , 565 , 566

Anonymus IV, 173 –75, 177 , 183 , 184 , 186 , 187 , 192 , 196 , 198 , 209 , 233

on  English thirds,  394

on  faburden,    437

anthem, origin of, 11 , 94

Anthoni usque limina (Busnoys), 456

Anthony the Abbot, Saint, 9 , 456

Antico, Andrea, 691

antiphonal Mass, 780

antiphonal psalmody, 8 , 11 , 23 , 611

original    meaning of,  8

antiphoner, 6 , 7 , 14 , 17 , 20 , 41 , 53 , 62

chant   modal   classification,  78

staffed neumes  proposal,    99

antiphons, 8 , 12 , 20 –29, 79 , 80

chant   interval    exemplars,   100

Communion,   433 –35

cyclic  Mass    Ordinaries  and,     465 ,   693

definition  of,  11

English,     612 –14,    686 –88

Frankish    mode    theory  and,     76 –86

Gregorian,   12 –13,     34 ,    78

grouping    of,  72 –76

neumated,    13 –17,     24

psalm   tone    pairing with,    20 –21,     78 ,    83

Song    of  Songs,   429 –33

tonaries    and,     72 –76

troping of,  50 –53,     55

See also    Marian  antiphons

Antique Theater (St. Petersburg), 127 , 128

Antiquity. See ancient world; classicism,

anti-Semitism, 88

antithesis, 723 , 724 , 733 –34, 747 , 749

Antonio da Tempo, 723

Antwerp, 454 , 459 , 597 , 676 , 714

Apollo (mythology), 32 , 802 , 803 , 804 , 824 , 826

A poste messe (Lorenzo), 366