Music from the Earliest Notations to the Sixteenth Century

Buus    and,     606

Byrd    and,     670

canzona and,     787 –96

chorale prelude and,     762

concerted   style   and,     780 –81

earliest    functionless    form    of,  541

fifteenth-century,   536 –46

Gabrielis’  dramatization   of,  786 ,   787

intermedii  as,  803 ,   804

introversive    and extroversive    signs   in,  652 –54,    658

key system  and,     44

method  books,   620 –21

motet   and,     222 –24,    222 ,   227 –28,    229 –33,    229 ,   233

as  Musica  metaphor,    38

orchestration   origins and,     782 –86

printing    and,     542 –46

seventeenth-century development of,  798

sixteenth-century,   606 ,   617 –28,    780 –81,    786 –96

sonata  and,     791 ,   792

Venetian    cathedral   performances    of,  790 –96

as  vocal   accompaniment,   131 –33,    296 ,   307 ,   352 ,   741 –42,    780

See also    chamber music;  concerto;   keyboard    music;  symphony

instruments,

liturgical  bans    on,  8

miniatures  of  medieval,    129 –30

Intabolatura de lauto (Spinacino), 606

Intabolatura d’organo di recercari (Buus), 619

intabulation (tablature), 307 , 606

In te Domine speravi (lauda), 699

In te Domine speravi (Clemens), 598 –99

intellectual cleverness, 327 –42

fifteenth-century,   456

intellectual elites. See elite culture

intellectuals,

Busnoys’s   skills  as,  456

cathedral,   207 –8

high    art and,     326 –27