Music from the Earliest Notations to the Sixteenth Century

definition  of   587

dissonance  and  168

Garlandia’s division    of   196

Jacopo  treatise    on   354

modal   rhythm  and  179 ,   187 ,   245

motet   as  texted   209 ,   210 ,   221 ,   229 –32,    229 ,   259

Notre   Dame    settings    and  171 ,   179 ,   180

Song    of  Songs   antiphons   and  429 –33

three-part   165 –67,    168

trecento    style    356 –59

two-part     256

discanter, 436

discantus. See discant

disciplinati. See flagellants

discordia concors, 148

definition of, 261

motet and, 226 , 229 , 236 , 255 , 286 , 424

disjunct tetrachords, 151

dismissal, 54 , 311 , 318 , 321 , 323 –24, 326

dissonance,

cadence and,     276 ,   305 ,   470

culture-bound   criteria    of,  153

discant harmony and,     168

Dunstable   refinements of,  427 ,   429 –32,    433

as  English descant feature,     406 –9,     417 ,   423

in  final   chord,   470

Garlandia’s tripartite  division    of,  196

harmonic    balancing   of,  153

monody  and,     818

Monteverdi  and,     734 –35

Peri    and,     829 ,   830

polyphonic  closure and,     168

sixteenth-century   rationalization/codification    of,  588 –89

stile   antico  and,     669

Tapissier   motet   and,     429

Willaert    and,     603

dits (lengthy allegorical poems), 290