Music Theory: Problems and Practices in the Middle Ages and Renaissance. Workbook

Agnus alto appear ascending ballade basic bass beat beginning breve cadential canon cantus firmus chanson chapter chord composers compositional conductus contrapuntal counterpoint descending discussion dissonant double leading-tone Dufay earlier edition of Desclee employed face ay pale fifth final followed fourteenth century fourth Franconian Gloria half note harmonic hemiola hocket imitation imperfect interpretation interval isorhythmic Kyrie section leading-tone leading-tone cadence Liber Usualis ligature linear literature longa Machaut madrigal Mass measures melismatic melodic meter Middle Ages Missa Pange Lingua modal notation monophonic motet motion neumes octave organum Palestrina passage pattern perfect consonances period phrase piece pitch plainsong plica polyphonic possible practice principal prolation quarter notes relationships Reprinted with permission rhythm rhythmic modes sacred Sanctus secular music semibreve shown in Example skip soprano step style syllable syncopation taleae technique tenor texture tion tone treatment triads unison upper voice vertical virelai vox principalis Willi Apel