changed style of, 461 , 501 –46
Clemens and, 593 –97
color and, 232 , 262 , 265 –66, 270 –71
concerted, 780 , 789
contrafactum and, 217 –21, 227 –28
contratenor (fourth voice) and, 270 –73, 298 –99
as Dante metaphor, 286
declamation, 429 –33, 566 , 567 , 577 , 603
definition of, 209
double notation of, 210 , 210 –13
ducal, 519 –26
Du Fay and, 282 –85, 429 , 441 , 495 , 507 –12
English model of, 399 –403, 405 , 406 –7, 408 –11, 423 –33, 460 , 462 , 512 –18
fifteenth-century transformation of, 280 –87, 399 –433, 461 , 501 –26, 530 –34
fourteenth-century growth of, 232 , 236 , 255 –87, 311 , 461
French model of, 219 –21, 222 , 229 –36, 229 , 233 , 255 –77, 286 , 555
Gabrieli (Giovanni) and, 782 –86
Gombert and, 590 –93
gospel-style, 595
heterogeneity of, 226 , 272 –73
as hybrid genre, 221 , 228 , 236
instrumental accompaniment and, 780
isorhythmic, 266 –67, 272 , 278 –85, 291 , 316 , 378 , 461 , 495
Italian model of, 277 –87
“Johannes Carmen” and, 378 –80
Josquin and, 530 –34, 554 –55, 565 –72, 577 –84, 601 –2, 604
Josquin parodies and, 572 –76
Landini madrigal in style of, 374 –76, 380
Latin texted, 219 , 311
Luther-Sennfl settings comparison, 756 –58
macaronic, 233 –36
Machaut and, 270 –73, 291 –92, 298 , 301 , 326 , 495
madrigal, 366 , 374 –77, 380
Marian antiphon and, 270 –73, 275 –76, 501 –26, 535
Mass Ordinary and, 311 , 316 , 318 , 632 , 636 –37, 642 –43
mélange artistry of, 233 –36
as middle style, 501 –46