Music from the Earliest Notations to the Sixteenth Century

early   Greek,   32 –33

senaria perfecta (meter), 363

senaria theory, 587 –88, 603

Sennfl, Ludwig, 545 , 572 –73, 572 , 704 , 762

Isaac’s Choralis    Constantinus    and,     679

Luther’s    relationship    with,    756 ,   758

Tenorlied   and,     704 –6

works   of

A   un  giro    sol setting,     757 ,   758

Ave Maria...    Virgo   serena,  572 –73,    588 ,   704

Lust    hab ich ghabt   zuer    Musica,  704 –6

Sensuality, Counter Reformation music and, 772 –77, 785

sequence, 39 , 41 –47, 50 , 86 , 99 , 131 , 171

British motet   and,     399 –402

double-entry,    60

madrigal    descending  seconds and,     363

paired  vesicles    of,  98 ,    604

planctus    settings    and,     112 –13

polyphonic  setting and,     149

rhymed  metrical,    86 –92

rhythmic    performance speculation and,     114 .  See also    melody

sequentia melisma, 41 , 42 , 42 –43

sequentia vocalise, 39

serfdom, 107 , 143

Sermisy. See Claudin de Sermisy

services, liturgical day, 11 –12

sesquitertia, 341

sestina, 352

Seven Last Words, 776

seventeenth century,

academies,   798 –99

designations    for,     797 –98

key system  and,     44

madrigal    types   and,     817

monodic revolution  and,     699 ,   806 –34

“nuove  musiche”    publications    in,  812 –22

Sexta   hora,   counterpoint    to,  154

Sforza, Ascanio Maria Cardinal, 518 , 552 , 558 , 578 , 578 , 584 , 699