Music from the Earliest Notations to the Sixteenth Century

See also    elite   culture

“intelligibility” (liturgical music) movement, 647 , 649 –53, 671 , 672 , 769

intermedii. See intermezzo

intermezzo, 769

monody  and,     806 –12,    823 ,   826

sixteenth-century   Florentine  intermedii,  803 –12,    831 ,   832

intermission play. See intermezzo

international style, fifteenth-century, 378 , 380 , 384 , 422 , 453 –59

intervals, 5 , 73 , 76 , 284 , 285

basso   continuo,    809 ,   811

counterpoint    and,     154 ,   406

demonstration   of,  73

diatonic    pitch   set and,     29 –30,     35

ear training    in,  76 ,    100 –101,   406

parallel    doubling    and,     149 –53

perfect,     274

as  pitch   ratio,   73

staff,   29 –30,     35 ,    73

as  symphoniae,  149

“In Thee, O Lord, have I placed my hope” (Clemens), 598 –99

intrasyllabic melodic expansion, 171 –72

Introit, 13 , 15 , 23 , 24 , 79

in  Mass    ordo,    61

troping of,  50 ,    51 ,    52 ,    64 ,    82

introspection,

humanism    and,     383

introversive semiotics, 643

inversions, 813

Io che dal ciel cader (Caccini), 804 , 808 –9

Io me son giovinetta (ballata), 366

Ionian mode, 553 , 572 , 592 , 596

irony, artistic conventions and, 359 , 363 , 364

Isaac, Henricus, 536 , 538 –39, 544 , 545 , 547 , 559 , 572 , 622 , 679 , 704 , 759 , 798 , 823 , 834

Choralis    Constantinus,    679

Innsbruck,  ich muss    dich    lassen,  759 ,   760

J’ay    pris    amours,  536 ,   538 –39

Missa   Quant   j’ay    au  cuer,    543 –44,    545

Missa   super   La  Spagna,  623 –25