Music from the Earliest Notations to the Sixteenth Century

theater,

Caccini musical spectacles  and,     812 –13,    831 ,   832 –34

intermedii  and,     803 –12,    823 ,   826

monodists   and,     822 –34

sacred  play    and,     832 –34

seventeenth-century prominence  of,  798

Theocritus, 356

Theodal, 100

theorbo (hurdy-gurdy), 805

theory,

Aaron   as  first   “Renaissance”   writer  of,  576 –77

ancient Greek,   29 –35,     32 –33,     32 ,    799

ars perfecta    and,     586 –89

Frankish    organization    of,  17 ,    72 –104

Glareanus   and,     553 –54,    581 ,   587 ,   592

Guido’s Microlugus,  154

mathematics and,     248 –50,    248 –55,    252 –53,    410 ,   495 ,   587 –88

Mei treatises   on,  799

Thibaut IV, Count of Champagne and King of Navarre, 118 , 120

De  bone    amour   vient   seance  et  bonté,   118 –19

Third Crusade, 117 , 345

third mode. See dactylic meter,

Third Reich. See Nazi Germany,

thirds,

British preference  for,     394 ,   395 ,   397

as  consonances,     153 ,   394 ,   397

harmonic    succession  by,  475

triads  and,     587

thirteenth century,

British monastic    music   manuscript  and,     387

British musical nationalism and,     405 –6,     409

mensural    notation    and,     248

motet   and,     207 –45,    258 –67

Paris   as  intellectual    capital in,  169 –205,   399

polyphonic  genres,  296

troubadours and trouvères,   107 –26,    139 ,   142 ,   144 ,   351

urbanization,    120

Worcester   fragments,   403