Music from the Earliest Notations to the Sixteenth Century

as  memory  device,  26 ,    39 ,    41

monodic madrigal,    819

sequence,    41 –43

Repleatur os meum laude (Jacquet of Mantua), 637 –38

representational style, 802

reproduction, imitation as, 474

Republic (Plato), 801

Requiem Mass, Dies irae, 88 –90

responsories, 11 , 12 , 25 , 310 , 324

Angelus Domini  (Medicean   and Solesmes    versions),   631

Parisian-style  music   books   and,     171

polyphonic,  162 –68,    178

Resurrexi tropes, 15 , 51 –52

Rex caeli Domine, 43 –47, 45 , 99 , 153

Rex regum (Notker sequence), 42 –43, 44

Rhau, Georg, 550 , 762 –63, 765 , 765 , 776

rhetoric,

musical embellishment   and,     816 –17

music   linked  with,    550 ,   551 ,   572 ,   679 ,   722 ,   813 –14

rhyme scheme, 43 , 44 , 114

ottonario,   696 –97

ritornello,  352

tercet,  89 ,    352     See    also    versus

“Rhyming Rules” (Guido), 185

rhythm, 5 , 37

Ars Nova    notation    and,     252

faux-naïve  imitation   and,     349

Gregorian   chant   indeterminacy   of,  114 ,   115

hymn    and,     48

isorhythm   and,     266 –67,    291 ,   311

Italian note-shapes and,     355 –56

Machaut repetition  and contrast    of,  325 ,   326

as  memory  device,  185 –86

monodic singing and,     817

motet   stratification  and,     238

neume   shape   and,     177

notation    of,  114 ,   131 ,   133 ,   185 –86,    204 –5,     210 ,   214 –17,    234 –35,    248

Notre   Dame    polyphony   and,     175 –205