distinguishing stylistic characteristics of, 153
Dunstable techniques and, 427 , 429 , 430
by ear, 392 , 406
English madrigal, 747
example variants, 154
Frankish vox organalis and, 44
Fux analysis of, 669
Guido of Arezzo and, 153 –54, 156
holding part in, 156 , 157 , 159 –60
Jeppesen treatise on, 670
“laws of,” 168
melismatic voice, 156 , 156
Monteverdi madrigal and, 736
note-against-note, 155 , 159 , 168 , 171 , 199 , 667 . See also discant
organum, 156 –57, 167 , 171
parsimony principle and, 154
perfect parallel, 151 –52, 153
stile antico and, 667 , 669
successive composition and, 301
syncopation and, 368
texts on, 669 , 670
top/bottom reversal in, 156 –62, 161
top-down composition and, 297 –98
two-part discant with occursus and, 356
unwritten harmonization and, 434 , 436
vernacular songs and, 697
virtuosos improvisation of, 536 , 538
See also polyphony; tonalityCounterpoint (Jeppersen), 670
Counter Reformation, 771 –96
favola in musica and, 832
Kyrie changes, 59
musical sensuality and, 772 –77, 785 , 800
Passion settings and, 775 –79
polychoral style and, 776 –81
Reformation outlook vs., 771 –72countersinging, 438 –39