See also elite culture
“intelligibility” (liturgical music) movement, 647 , 649 –53, 671 , 672 , 769
intermedii. See intermezzo
intermezzo, 769
monody and, 806 –12, 823 , 826
sixteenth-century Florentine intermedii, 803 –12, 831 , 832
intermission play. See intermezzo
international style, fifteenth-century, 378 , 380 , 384 , 422 , 453 –59
intervals, 5 , 73 , 76 , 284 , 285
basso continuo, 809 , 811
counterpoint and, 154 , 406
demonstration of, 73
diatonic pitch set and, 29 –30, 35
ear training in, 76 , 100 –101, 406
parallel doubling and, 149 –53
perfect, 274
as pitch ratio, 73
staff, 29 –30, 35 , 73
as symphoniae, 149
“In Thee, O Lord, have I placed my hope” (Clemens), 598 –99
intrasyllabic melodic expansion, 171 –72
Introit, 13 , 15 , 23 , 24 , 79
in Mass ordo, 61
troping of, 50 , 51 , 52 , 64 , 82
introspection,
humanism and, 383
introversive semiotics, 643
inversions, 813
Io che dal ciel cader (Caccini), 804 , 808 –9
Io me son giovinetta (ballata), 366
Ionian mode, 553 , 572 , 592 , 596
irony, artistic conventions and, 359 , 363 , 364
Isaac, Henricus, 536 , 538 –39, 544 , 545 , 547 , 559 , 572 , 622 , 679 , 704 , 759 , 798 , 823 , 834
Choralis Constantinus, 679
Innsbruck, ich muss dich lassen, 759 , 760
J’ay pris amours, 536 , 538 –39
Missa Quant j’ay au cuer, 543 –44, 545
Missa super La Spagna, 623 –25