Music from the Earliest Notations to the Sixteenth Century

normative   polyphonic,  187 –89

parallel-imperfect,  406 –9

Pythagorean classification  of,  29 –31,     70 ,    456 ,   495 ,   587

triads  and,     168 ,   587

consort of viols, 741 , 742

Constantine XI, Byzantine Emperor, 484

Constantinople, 484

contenance angloise, 422 –52

continental assimilation    of,  441 –52

features    and impact  of,  423 ,   433 ,   452

harmonizing and,     34 –35

significance    of,  429 ,   461

Tinctoris   on,  514

translation of  term,    422

contests. See song competitions

continental music. See international style

continuo, 780 –82, 783 , 784 , 795 , 798

earliest    printed,     809 ,   811

monodic madrigal    and,     813 –18,    821

original    composition pf,  804 ,   808 –9

Peri’s  Euridice    and,     829 –31

continuo songs (musiche), 813 –18, 823 –26

contrafactum, 48 , 90

definition  of,  598

Easter  dialogue    trope   and,     52

English round   and,     392

laude   and,     133

Lutheran    chorales    and,     759 ,   760

Minnelieder and,     134 ,   143

motet   and,     217 –21,    227 –28

vernacular  psalm   settings    and,     598

contralto, 468

contrapuntal style. See counterpoint

contratenor (fourth voice), 270 –73, 298 –99, 301 , 349 , 374

Binchois    use of,  448

caccia  with,    378 ,   380

Caput   Mass    and,     466 ,   468 ,   477

defining    characteristic  of,  301