Music from the Earliest Notations to the Sixteenth Century

Missa   Gloria  Tibi    Trinitas,    612 –13,    614 ,   672

technical progress, 226 –27, 245 , 247 –48, 252

technique,

academic    music   and,     608 –11

style   vs.,     248 –8

subtilitas  and,     327 –42

virtuosity  and,     330 ,   337

Te Deum laudamus, 94

Te Joseph celebrent (Gregorian hymn), 136

teleological history, 144 , 381 , 383 , 738 –39

tempered tuning, 730

Temperley, Nicholas, 27

temporale, 12

tempus, 197 , 217 , 251

division    of,  253

four    basic   combinations    of,  251

notational  coloration  and,     266

tempus perfectum, 441

ten-based system. See decimal system,

“tendency tones,”, 275 –76

ten-five open-spaced triad, 409

tenor,

caccia,  364

Caput   Mass    and,     466 ,   468 ,   473 ,   474 ,   475 ,   477

coloration  and,     266

conductus   and,     198 –99,    403

discant and,     209 ,   276

evolved meaning of,  468 ,   474

ground  bass    and,     625 –28

“In seculum”    and,     228

J’ay    pris    amours  settings,    540 –41

Machaut composition and,     292 ,   297 –305,   307 ,   324 –25,    326 ,   328 ,   328

madrigal    and,     374

Mass    cycle   section unification based   on,  461

motet   and,     212 ,   219 ,   228 –33,    234 ,   238 –39,    259 ,   262 ,   265 –66,    267 ,   271 ,   282 ,   296 ,   378 ,   399

motet   fourth  voice   and,     270 –73

paraphrase  motet   and,     503