Music from the Earliest Notations to the Sixteenth Century

proliferation   of,  172

prosulation and,     39 –41

repetition  and,     26 ,    41

sequences,   41 –43

word    additions,   39 –41

See also    discant

melismatic organum, 156 –57, 159 , 171 , 180

melodramma eroico melody,

Adam    of  St. Victor  and,     89 –90

cantilena   and,     298 –99

chant   and,     28 ,    34 ,    35 ,    298

contrafactum    and,     48 ,    52 ,    90

Dorian,  83 ,    99 ,    136 ,   137 ,   270 –71

early   Greek,   32 ,    33

Frankish    hymn,    49 ,    83 –86

Frankish    mode    theory  and,     81

Hildegard   of  Bingen  and,     90 –91

interval    exemplifier,     100 –104

leisurely   flow    of,  603 ,   610 ,   634 –35

Marian  antiphon,    96 –99

motivicity  and,     555

oral/aural  transmission    of,  17

pitch   and,     33 ,    34 –35

repetition  scheme  of,  26 ,    39 ,    41

rondellus   technique   and,     403

round   and,     331

sequence,    39 ,    41 –47

staff   notation    and,     16

strophic    form,    68

trecento    characteristic,  363 ,   371

troubadour/chant    affinities  and,     111

Memor esto verbi tui servo tuo (Josquin), 554 , 555 , 556 , 557 –58

memory,

basic   notation    and,     47 ,    60

chant   transmission    and,     26 ,    28 ,    39

mnemonic    devices,     39 ,    60 ,    78 ,    102 –4,     103 ,   162 ,   185 –86

modal   theory  and,     78 ,    185