Du Fay use of, 441 –43, 446 –47
Josquin and, 529 –31
Machaut composition and, 325 , 328 , 328
Ockeghem’s Ma bouche rit and, 529 –30
contratenor bassus. See alto; bass,
contretenor altus. See contralto,
conventions, 359 , 363 –64
Copernican revolution, 577 , 578
Copland, Aaron, 236
copperplate engraving, 693
copula, 179
copyright, 691
cornetto, 780 , 783 , 786 , 791
Cornysh, William, 612 , 672 , 692
Salve Regina, 513 –18
Corsi, Jacopo, 826 , 829 , 833
Corteccia, Francesco, 803
Coryat, Thomas, 789 –90, 791 , 795
cosmic harmony, 70 , 71 , 148
discordia concors belief and, 148 , 226 , 229 , 236 , 255 , 261 , 286
Du Fay motet and, 284
Machaut motet and, 271 –73
motet as Dante’s metaphor for, 286
music as metaphor for, 255
cosmological theory, 577
Council of Constance, 278 , 281 , 310
English musical influence and, 423 –24, 433
Council of Trent,
anti-Semitic excises from liturgy by, 88
liturgical music reform by, 649 –50, 653 , 655 , 656 , 672 , 789
Pfitzner operatic portrayal of, 652
counter note, 436 , 437
counterpoint, 147 –68
chant amplification and, 435 –39
Chartres fragment style of, 155
compositional virtuosity and, 339
definition of, 153