Music from the Earliest Notations to the Sixteenth Century

Du  Fay use of,  441 –43,    446 –47

Josquin and,     529 –31

Machaut composition and,     325 ,   328 ,   328

Ockeghem’s  Ma  bouche  rit and,     529 –30

contratenor bassus. See alto; bass,

contretenor altus. See contralto,

conventions, 359 , 363 –64

Copernican revolution, 577 , 578

Copland, Aaron, 236

copperplate engraving, 693

copula, 179

copyright, 691

cornetto, 780 , 783 , 786 , 791

Cornysh, William, 612 , 672 , 692

Salve   Regina,  513 –18

Corsi, Jacopo, 826 , 829 , 833

Corteccia, Francesco, 803

Coryat, Thomas, 789 –90, 791 , 795

cosmic harmony, 70 , 71 , 148

discordia   concors belief  and,     148 ,   226 ,   229 ,   236 ,   255 ,   261 ,   286

Du  Fay motet   and,     284

Machaut motet   and,     271 –73

motet   as  Dante’s metaphor    for,     286

music   as  metaphor    for,     255

cosmological theory, 577

Council of Constance, 278 , 281 , 310

English musical influence   and,     423 –24,    433

Council of Trent,

anti-Semitic    excises from    liturgy by,  88

liturgical  music   reform  by,  649 –50,    653 ,   655 ,   656 ,   672 ,   789

Pfitzner    operatic    portrayal   of,  652

counter note, 436 , 437

counterpoint, 147 –68

chant   amplification   and,     435 –39

Chartres    fragment    style   of,  155

compositional   virtuosity  and,     339

definition  of,  153