Music from the Earliest Notations to the Sixteenth Century

definition  of,  153

distinguishing  stylistic   characteristics of,  153

by  ear,     46 ,    168 ,   435 –39

English,     403 ,   405 –6,     407 ,   408 –9,     417 ,   423 –29,    435 –39,    447 –48,    614 ,   686

genetic fallacy and,     42 ,    221 ,   472

Gesualdo    and,     738 ,   739

ground  bass    effects on,  625 –28

higher  levels  of  Musica  and,     38

improvisation   of,  392 ,   394

Lasso   and,     720 –21,    739

Lutheran    chorale and,     765 –66,    768

modulation  and,     471

monody  and,     802 –3,     813 ,   815 –16,    818 –19

motet   and,     271 –76,    286

printed bass    line    and,     781 –82

Sumer   canon   and,     392

tempered    tuning  and,     730

tonal,   471 –72

triadic,     168 ,   433 ,   447 ,   470 ,   587 –88

triad   in  first   inversion   and,     813

Willaert    and,     603 –4

Zarlino treatise    on,  586 –87

See also    cadence;    counterpoint;   discant;    polyphony

harmony of cosmos. See cosmic harmony

harmony of the spheres, 152 , 804

Haromia Macrocosmica (Celarius), 476

harp,

Babylonian,  31 ,    31

medieval,    132 ,   147 ,   392

Harrison, Frank Llewellyn, 389 , 390 –91, 513

Hausen, Friedrich von, 135

hauteur, musical meaning of, 448 , 452

Hawkins, Sir John, 388 , 389

Haydn, Franz Joseph,

Fux’s   text    and,     669

symphony    and,     175 ,   632

Hayne van Ghizeghem, 535 , 536