Music from the Earliest Notations to the Sixteenth Century

regularized,     113

strophic,    325

Canterbury, 461

Canterbury Cathdral, 408 , 408

Canterbury Tales (Chaucer), 365

canticle, 12

“Canticle of Mary.” See Magnificat

Canti C numero cento cinquanta (Petrucci publication), 563

cantiga, 128 –33, 134

manuscript  miniatures,  129 –30,    130 ,   131 ,   133

Cantigas de Santa Maria (collection), 128

cantilena, 298 –301, 312 –13, 317 , 318 , 325 , 397 , 413 , 417 –18, 435

motet   as,  429 –33,    501 –46

Cantionalsätze, 765 –68

Cantiones ab fual argumento sacras vocantur (Byrd and Tallis), 673 , 677 –78

Cantiones sacrae (Byrd), 678 –79

canto, 542 –46

cantus coronatus, 208

cantus firmus, 291 , 311 , 316 , 326

in  Busnoys’s   Missa   L’Homme Armé,    488

Caput   Mass    transposition   of,  475 ,   476 ,   482

characteristic  fifteenth-century   Mass    form    of,  486 –90

conductus   and,     397

contratenor vs.,     271

counterpoint    and,     156 –57,    159 ,   161 ,   297 –98,    307 ,   399

countersinging,  438 –39

Cunctipotens    genitor and,     306 ,   322

cyclic  Mass    Ordinaries  and,     461 –71,    473 –76,    482 ,   483 –97,    501

in  Du  Fay’s   Masses,  498

in  English church  music,   439 –40,    612 ,   613

English descant and,     406 ,   407

French  motet   and,     221

imitative   polyphony   vs.,     580 –82

Josquin’s   innovations and,     499 ,   529 –30,    579 ,   580 –81,    584 ,   602

in  Josquin’s   Missa   Hercules    Dux Ferrariae,   560 –61

in  Josquin’s   Missa   L’Homme Armé,    529

Lutheran    chorales    and,     761 –62,    768