Milanese style of, 518 –26, 528 , 530 –31, 583 –84
Mouton and, 589
notation, 209 –11, 213 –26
occultism and, 271 –72, 278
origin elements of, 219 –21, 354
Palestrina and, 632 , 663 –66
paraphrase, 501 , 503 , 506 , 507 , 556 –57, 566 –67, 641
patterning of, 261 –67
performance specification for, 783
personal aspect of, 507 –9, 517
Petronian, 236 –45, 251 , 259
Petrucci publication volume, 555 , 557 –58, 559 , 565 , 579
Phrygian polyphony and, 529
as political and propaganda vehicle, 277 –81, 423 –24
polyphony and, 122 , 221 –36, 255 , 259
polytextuality and, 212 , 226 , 286 –87
ricercare and, 608
sixteenth-century polyphony and, 588 –89, 595 –97
sixteenth-century texts and, 595 –96, 632
social theory and, 207 –8
songlike, 262
tablatures of, 606
Tallis and, 673 , 677
technical innovation and, 226 –27, 255
tenor voice’s importance in, 259
thirteenth-century, 207 –45
thirteenth-century vs. fourteenth-century, 258 –67
Tinctoris’s ranking of, 460
top-down composition of, 296 –98
trecento, 354
trobar clus and, 226 –28
trouvère poetry and, 218 –19, 218 , 221 , 224 –26, 236 , 238
Vitry and, 256 –59, 261 –65, 298 –99, 337 , 378
Willaert and, 601 –4motet enté, 221 , 226 –27, 234
Motetti A numero cinquanta (Petrucci publication), 559
Motetti della corona (Petrucci publication), 555 , 557