Clarence, Duke of, 409 , 461
class. See social class; specific classes,
classical literature, 356 , 717 , 719 –22. See also standard repertory
classical music,
Baroque label and, 797
modern listening to, 610
as primarily literate, 779
classical repertory. See standard repertory,
classicism,
aim of, 632
Florentine academies and, 799
genius concept and, 552
Glareanus’s modal theory and, 554
Greek drama and, 780 , 799 , 822 –23
high art definition and, 459 , 462
humanism and, 615 , 717 , 730 , 753 , 780
Lasso text settings and, 717 , 719 –22
musical historiography and, 383 –84
musical rhetoric and, 550
neoclassical revival and, 797 –834
Plato’s Academy and, 798
Renaissance and, 382 –83, 384 , 586 , 797
Willaert and, 604 –7
See also ancient world; ars perfecta; Greek (Hellenistic) music theory; Greek drama; Greek
mythology
Claudin de Sermisy, 692 , 706 –7, 714
Tant que vivray, 706 –7, 708 , 709 , 711 , 712
clausula, 180 , 181 –84, 296
Ex semine, 210 , 211 , 220 , 196 , 209 –11, 212 , 217
motet in relationship with, 210 , 214 , 217 , 219 , 221 , 228 , 236 , 259
prosulated, 209
“substitute”/”ersatz,” 183 –84
claves, 99 –100, 101
clefs, 99 –100, 312 –13
Ockeghem Mass notation without, 479 –80
Clemens, Jacobus (Jacob Clement), 593 –99, 601 , 602 , 678 , 754 –55
In te, Domine, speravi, 598 –99
Qui consolabatur me recessit a me, 594 –97, 599