Music from the Earliest Notations to the Sixteenth Century

“Il eccelentissimo  Adriano”    and his contemporaries

Gombert

Clemens

Willaert    and the art of  transition

The progress    of  a   method

Academic    art

Spatialized form

Alternatives    to  perfection

Peeking behind  the curtain

Dances  old and new

Chapter 16  The End of  Perfection

Palestrina, Byrd, and the Final Flowering of Imitative Polyphony

Palestrina  and the ecumenical  tradition

Besting the Flemings;   or, the last    of  the tenoristas

Parody  pairs

Palestrina  and the bishops

Freedom and constraint

Cryogenics

Byrd

Church  and state

The first   English cosmopolite

The music   of  defiance

Musical hermeneutics

The peak    (and    limit)  of  stylistic   refinement

Chapter 17  Commercial  and Literary    Music

Vernacular Song Genres in Italy, Germany, and France; Lasso’s Cosmopolitan Career

Music   printers    and their   audience

Vernacular  song    genres: Italy

Germany:    The Tenorlied

The “Parisian”  chanson

Music   as  description

Lasso:  The cosmopolite supreme

The literary    revolution  and the return  of  the madrigal

“Madrigalism”   in  practice