unaccomapnied, 666 –67, 732voces, 101 –2, 103 –4
voces musicales, 101
Josquin and, 499 –500, 560 , 634
Palestrina and, 634Vogelweide. See Walther von der Vogelweide
voice-exchange, 394 –95, 397 , 399 , 402 , 407 , 413
Du Fay and, 441 –42
Taverner and, 613voice parts (SATB) orchestration of, 783
range of, 468voice types,
etymology of nomenclature, 468 , 474Voir Dit, Le (Machaut), 297 , 299
voluptuous music, 429 –33
Von edler Art (Brahms), 703 –4
Von edler Art (Schönfelder), 702 , 703 , 704
Von Tilzer, Albert, 19
vorimitation, 758 , 761
Vos qui secuti estis me (Du Fay), 434 –35
votive antiphon, 94 –99
English, 512 –18
Milanese substitution of Ordinary texts with, 518 –19. See also Marian antiphonsvotive Masses, 314 –26, 460
as composite compositions, 316 , 317
Machaut’s Messe de Nostre Dame as, 317 , 317 –26, 460votive occasions, 12
vox principalis/vox organalis, 150 , 152 –53, 154 , 155 , 156 , 159 , 163
Vulgate, 20 , 606
Vultum Tuum deprecabuntur cycle (Josquin), 531 –34
W
W1 codex, 180 , 183 , 184
W2 codex, 180 , 183 , 186 , 187 , 209 , 210 , 211 , 212 , 217 , 219
Wagner, Peter, 28
Wagner, Richard,
on art of transition, 600
chromaticism and, 738 , 739