Milanese ducal motets and, 520 –26
motet and, 122 , 221 –36, 255 , 259 , 270 –73, 298 , 604
multiple choirs and, 783 –84
neume shapes and, 22
“northern,” 722
notation of, 185
Notre Dame school and, 171 –205
Oswald von Wolkenstein and, 143
Palestrina and, 635 –41, 655 –65, 666
parody and, 314 , 512 , 574
partbooks and, 539 –40, 542
Passion text settings, 775 –77
Phrygian, 529
Poland and, 347 –49
pre-Christian, 31 , 147
quadruplum, 174 , 187 , 198 , 199 –201, 199
rhythmic performance of, 114
Roman Catholic standard and, 666 , 667 , 686
rounds and, 331
St. Martial-style, 157 , 159 , 160 –61, 162 , 171
sixteenth-century, 587 –89, 596 –97, 747
Tallis and, 673
Tenorlied and, 701
trecento, 351 , 353 –54, 353
Western music’s norm, 148
See also clausula; counterpoint; four-part polyphony; organum; three-part polyphony; two-part
polyphony
polytextuality, 212 , 226 , 286 –87
antiphon motet and, 508
papal complaint about, 311
polytonality, 150 , 152
Pomerium (Marchetto and Syphans), 354
Ponte, Lorenzo daPontifici decora speculi (“Johannes Carmen”), 378 –80
pop music,
audience interaction and, 617
crooning and, 817
impromptu arrangements of, 131
popular art,