Music from the Earliest Notations to the Sixteenth Century

Philippus (or Philipoctus) de Caserta, 337 –42, 356

En  remirant,    338 –39,    341 ,   341

Philip the Chancellor, 174 , 184

Dic,    Christi veritas,     201 –5

philosophical Romanticism. See Romanticism,

philosophy of history, 144 –45

Phrygian mode, 76 , 79 , 83 , 479 , 555

Phrygian scale, 44 , 79 , 82 , 802

polyphony   and,     529

Piange, madonna (d’India), 819 –20

piano, keys/scale relationship, 76

Picard family, 411

pictorialisms, 749 , 750

Piero, Maestro, 352 , 352

Pierre de la Croix. See Petrus de Cruce

Pierre Hosdenc, 174

pitch, 30 , 105

chant-setting,   50

color   and,     232

early   Greek   notation    and,     16 –17,     17 ,    45 ,    732

fixed,   76

Frankish    notation    and,     73 ,    75 –76,     78

Guidonian   scale   range   of,  101 –3

interval    ratios,  38

key system  and,     76

ligatures   and,     176 –77

medieval    modal   scale   and,     101 –3

modal-to-tonal  change  and,     471 –72

natural harmonic    series  and,     588

neumes’ staff   placement   and,     16 ,    99 –100

oral/aural  transmission    of,  17

Pythagorean proportions and,     282 ,   284

relationships,   37 ,    596 –97

tendency    tones   and,     275 –76

Pitti Palace (Florence), 826 , 832

Pius IV, Pope, 650 , 652

Pius V, Pope, 675

plagal harmony, 427