canon and, 330 –36, 364
cantilena and, 298 –301
choral performance and, 314
chromaticism and, 273 –76
Clemens’s psalm settings and, 597 –99
closure signal in, 168
Codex Calixtinus and, 162 –68
Compostela manuscript and, 162 , 171
conductus and, 131 , 162 , 165 , 166 –67, 173 –74, 198 –205
Du Fay and, 441 –42, 498 , 512
early British, 387 –92
early Christian rejection of, 10
English High-Church, 518 , 526 , 612 –14
English pre-Reformation, 387 –99, 402 –11, 419 , 423 , 434 –35, 672
English Reformation and, 672 , 673 , 676
fauxbourdon and, 435 –39, 441 , 442
Frankish practice of, 44 –47, 45
French style of, 429
Gabrieli (Giovanni) and, 786
Garlandia classification of, 196 –98
German courtly songs and, 701
Glareanus’s modal theory and, 554
Grocheio’s social theory and, 208
Guido of Arezzo and, 153 –54, 155 , 156
homorhythmic, 122 , 146 , 199 , 296
imitative, 330 –36, 337 , 493 , 546 , 574 , 577 , 579 , 580 , 589 , 596
improvisational, 392
isosyllabic performance of, 115 , 159
Italy and, 699
Josquin and, 529 , 538 , 563 , 566 , 568 –70, 572 , 578 , 579
Lutheran chorales and, 755 , 758 , 760 –62, 768
luxuriant style and, 301 –5
Machaut and, 290 –91, 293 , 296 –314, 325 –36
madrigal and, 354 , 356 , 364 , 800 –801, 816 , 817 , 818
Marian antiphons and, 501 , 672
Mass Ordinary and, 54 , 307 , 308 –16, 324 , 325 –26, 512
metrical, 175 –83