Music from the Earliest Notations to the Sixteenth Century

French  conquest    of,  708 ,   711

Josquin and,     558 ,   583 –84    libroni and,     519

madrigalists    and,     352

motet   and,     518 –26,    528 ,   530 –31,    583 –84

Sforza  rulers  of,  518 ,   522 –23,    558 ,   584

Milan Cathedral, 518 , 519 , 519 , 558 , 584

Milanese rite. See Ambrosian rite,

mimesis (imitation),

definition  of,  474

emulation   vs.,     474 –75

of  nature,  331 –32,    333 ,   349 ,   700 –701,   711 –12,    727 ,   728 ,   733 –34,    747 ,   749

polyphony   and,     330 –36,    337

radical humanists   and,     786 ,   802

sigh-figure and,     363

structural,  528 –29,    535 –36

mind-matter dualism, 797

Minerva (mythology), 550

minima, 253 , 354

minim-stems, 260 , 341 , 355

Minnelieder, 134 –39, 143

Minnesang, 134 –39, 142

Minnesinger, 135 –44, 141 , 701 , 704

three   main    genres  of,  136 –37

minor mode, 99 , 253 , 553

harmonic    minor   and,     277

minstrels, 109 –10, 129 , 130 , 294 , 295 , 299

instrumentalists,    131 –317,   296

Mirabile mysterium (Gallus), 772 –75

“Miserere supplicant Dufay” (Du Fay), 510 –12

Missa ad imitationem style, 574 –75

Missa Alma Redemptoris Mater (Power), 462 –65

Missa Ave Regina Coelorum (Du Fay), 574

Missa Caput (anon.), 465 –71, 472 , 473 , 475 , 481 , 489

composer’s  identity    and,     475 –77

Missa Caput (Obrecht), 473 , 481 –83

Missa Caput (Ockeghem), 458 , 473 –77, 482 , 483

Missa cuiusvis toni (Ockeghem), 479 –80