Music from the Earliest Notations to the Sixteenth Century

Palestrina  Missa   Papae   Marcelli    and,     653 ,   655 ,   655 –56,    658 –60,    680 ,   684 –85

votive  Mass    and,     316 ,   317 ,   318

“Credo I,”, 34 –35

Crétin, Guillaume, 455 , 455

Crocker, Richard, 219

crooning (singing style), 817

“crossover projects,” 515

cross relation (harmonic), 686

Cruda Amarilli (Monteverdi), 735 –38

Crusades, 96 , 107 , 108 , 117 , 135 , 141

Constantinople  and,     484

Cyprus  and,     345

Homme   Armé    Masses  and,     484 –85

cultural elites. See elite culture Cumaean sibyl, 719 , 719

Cum jubilo (Kyrie IX), 84 –86, 89 , 234

Cumming, Julie, 286

Cunctipotens genitor (Ad Organum faciendum), 163

Cunctipotens genitor (Codex Calixtinus), 164 , 165 , 306 –7

Machaut Kyrie   and,     322 ,   324 –25

Cunctipotens genitor (Faenza Codex), 306 , 322 , 371

Cunctipotens genitor Deus (Kyrie IV), 59 , 111 , 306 , 325

cursive principle, 12

cyclic Mass Ordinaries, 459 –500, 501

composers   of,  472 –500

constituent sections    of,  496

emulation   and,     474 –75,    484 ,   633

English composers   and,     460 –71

fifteenth-century   inception   of,  450 –60

four-part   harmony and,     466 –71

high    style   of,  461 –62,    465 ,   480 –81,    486

Missa   L’Homme Armé    and,     484 –500,   529

modern  concert audiences   and,     496 –97

Palestrina  and,     633 –63

Petrucci    printed publication of,  499 –500

Phrygian    polyphony   and,     529

votive  motet   substitutes in,  518 –26,    529

See also    Mass    Ordinary

Cypriot Codex, 345 –46