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Chapter 2 29 was also a composer, since he left no published musical works, only a couple of instrumental treatises which contain, among the rest, a few ricercars in tablature for viol. 61 Ganassi played both wind and bowed instruments in all the most important Venetian institutions and his recorder treatise contains very few hints of theory, dealing instead with practical performance, describing instrumental technique and suggesting what to play, mainly divisions. According to Ganassi, divisions must deal with three elements: • ‘minute’, i.e. note values • ‘vie’, i.e. rhythm patterns • ‘proporzion’. Each of these elements may be ‘simplice’ or ‘composto’: the result is eight different type of division: 62 Ex. 3 [1] [2] [3] [4] [5] [6] [7] [8] & & & & & & & & & [guida] c Essempio del diminuir simplice in particular de minute e proporzion, in particular per esser composto de vie c Essempio del diminuir simplice in particular de proporzion e vie, in particular per esser composto diminuir c 3 Essempio del diminuir simplice in particular di minute e vie, in particular per esser composto de proporzion c 3 Essempio del diminuir simplice general, cioè de minute e vie e proporzion c Essempio del diminuir composto in particular de minute e vie, in particular per esser simplice de proporzion c Essempio del diminuir composto in particular de proporzion e vie, in particular per esser semplice de minute c 3 Essempio del diminuir composto in particular de minute e vie, in particular per esser semplice de proporzion c 5 Essempio del diminuir composto general: general per essere composto de minute e vie e proporzion c w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 6 6 4 w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 6 6 5 5 6 w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ . œ. œ œ œ The eighth type of division, the most complex, matches the patterns that we see in Agricola’s duos, and, generally speaking, in those included in Perugia MS 1013, as in the anonymous ‘Le serviteur hault guerdonné’, of which we give bars 55-70: 63 61 Cf. entry ‘Ganassi dal Fontego, Silvestro di’ in DEUMM, Biografie, III, pp. 111-12. 62 The treatise has no page numbering; this example is at the beginning, just after Chap. 12, ‘Ordine del composto particular e generale’. 63 This transcription is taken from Brown & Lowinsky, Romano, pp. 38-40.
Chapter 2 30 Ex. 4 & b b a V b b C 3 2 & b b V b b & b b V b b & b b V b b & b b V b b ˙ ˙ w # œ œ œ œ œ. ˙ . ˙ œ œ œ 5 4 ˙ ˙ œ œ œ. # ˙ ˙ ˙ ˙ n j œ › w ˙ ˙ ˙ ˙ w j œ œ œ ˙ œ œ œ œ 6 5 n ˙ ˙ œ œ œ œ. ˙ w ˙ w ˙ ˙ j œ ˙ w › œ œ œ œ 7 6 w 4 3 w ˙ . œ. œ. œ œ œ œ œ œ œ œ œ . ˙ ˙ œ œ œ . œ › j œ ˙ œ j œ œ œ œ œ œ w w ˙. œ œ œ ˙ . ˙ ˙ ˙ . œ œ œ œ # ˙ ˙ ˙ œ ˙ œ œ ˙. ˙ œ w ˙ ˙. œ ˙ ˙ ˙ ˙. œ ˙ ˙. œ œ ˙ Most of Ganassi’s treatise is devoted to divisions in proportions: indeed only ‘Regola prima’ includes divisions on ascending and descending passages and cadences in pure duple time. All the other ‘regole’ – from the second to the fourth – are devoted to divisions in the proportions of ‘sesquiquarta’ (i.e. five crotchets instead of four), ‘sesquialtera’ (six crotchets instead of four) and ‘sub tripartiens quartas’ (seven crotchets instead of four). All these rules may be applied together to the same passage, creating divisions of an unthinkable difficulty nowadays, though Ganassi seems to consider them perfectly acceptable for a virtuoso player of the early Renaissance. However, Ganassi is the only writer to propose divisions like those: the following, and in many respects similar, Venetian treatises, which were published around fifty years later – Girolamo Dalla Casa, Il vero modo di diminuir con tutte le sorte di stromenti (1584) and Giovanni Bassano, Ricercate, passaggi et cadentie (1585) – do not include such difficult matter as Ganassi did. Hence, we may hypothesise that Ganassi was giving testimony of a very complex instrumental – rather than vocal – practice, conveyed mainly aurally and already in decline at the time of Fontegara’s publication. This practice would be also testified by the proportional duos that occasionally emerge here and there in a few manuscripts, included just as examples of proportions, but not necessarily originally composed for this purpose.
Page 1 and 2: TWO-PART DIDACTIC MUSIC IN PRINTED
Page 3 and 4: ABSTRACT Two-part compositions were
Page 5 and 6: 3.5. Motets and Sacred Madrigals p.
Page 7 and 8: ABBREVIATIONS AND LIBRARY SIGLA Whe
Page 9 and 10: RISM-Addenda Répertoire Internatio
Page 11 and 12: I PLn Italy - Palermo, Biblioteca N
Page 13 and 14: Chapter 1 2 some music manuals of t
Page 15 and 16: Chapter 1 4 Einstein was confident
Page 17 and 18: Chapter 1 6 1.3. THE CONSISTENCY OF
Page 19 and 20: Chapter 1 8 music publishers, Ottav
Page 21 and 22: Chapter 1 10 It is easy to identify
Page 23 and 24: Chapter 1 12 Al Signor Gioseffo Gua
Page 25 and 26: Chapter 2 14 2.1. DUOS IN JOHANNES
Page 27 and 28: Chapter 2 16 conjectures fits in we
Page 29 and 30: Chapter 2 18 In the sources listed
Page 31 and 32: Chapter 2 20 do not want to analyse
Page 33 and 34: Chapter 2 22 Festa avoids cadences,
Page 35 and 36: Chapter 2 24 Perhaps the six recerc
Page 37 and 38: Chapter 2 26 2.5. MANUSCRIPT DUOS N
Page 39: Chapter 2 28 with Tinctoris’s duo
Page 43 and 44: 3.1.1. INTRODUCTION 3. DIFFERENT KI
Page 45 and 46: Chapter 3.1 34 MADRIGALS Madrigals
Page 47 and 48: Chapter 3.1 36 short duos composed
Page 49 and 50: Chapter 3.1 38 ‘Scherzi, capricci
Page 51 and 52: Chapter 3.2 40 2. All the treatises
Page 53 and 54: Chapter 3.2 42 material by Flemish
Page 55 and 56: Chapter 3.2 44 of a texted-duo coll
Page 57 and 58: Chapter 3.2 46 tenore di buona voce
Page 59 and 60: Chapter 3.2 48 explicitly declares
Page 61 and 62: Chapter 3.2 50 as a sort of no-man
Page 63 and 64: Chapter 3.2 52 stand about this col
Page 65 and 66: Chapter 3.2 54 vocal practice, beca
Page 67 and 68: Chapter 3.2 56 Ex. 5 14): Ex. 6 & &
Page 69 and 70: 3.3. THE TWO-PART CHANSON The first
Page 71 and 72: Chapter 3.3 60 Venice for the first
Page 73 and 74: 3.4. THE MADRIGALIAN DUO 3.4.1. INT
Page 75 and 76: Chapter 3.4 64 • both duos were i
Page 77 and 78: Chapter 3.4 66 SCOTTO (1541) FROM K
Page 79 and 80: Chapter 3.4 68 del Bembo con la mus
Page 81 and 82: Chapter 3.4 70 for lute and in two
Page 83 and 84: Chapter 3.4 72 were also conceived
Page 85 and 86: Chapter 3.4 74 likelihood the two m
Page 87 and 88: Chapter 3.4 76 was not possible, th
Page 89 and 90: Chapter 3.4 78 the lower part cross
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Chapter 3.4 80 passages seem differ
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Chapter 3.4 82 This choice could ha
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Chapter 3.4 84 duos and nor, appare
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Chapter 3.4 86 case of Nicoletti (1
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Chapter 3.4 88 from sacred composit
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Chapter 3.4 90 consumi’ by Berche
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Chapter 3.4 92 would justify the br
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Chapter 3.4 94 3.4.10. CONCLUSION A
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Chapter 3.5 96 3.5.1. THE MOTET Whi
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Chapter 3.5 98 We shall return to t
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Chapter 3.5 100 Bellanda are devote
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3.6.1. VILLANCICOS 3.6. OTHER VOCAL
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Chapter 3.6 104 Cancionero musical
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4. DUOS AS COMPOSITIONS AND AS TEAC
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Chapter 4.1 108 known composition;
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Chapter 4.1 110 wrote in the chapte
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Chapter 4.1 112 modal theory was fo
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Chapter 4.1 114 until the first hal
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Chapter 4.1 116 comment concerning
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Chapter 4.1 118 36 by Gastoldi; the
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Chapter 4.1 120 Ex. 9 @ $ % & & V V
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Chapter 4.1 122 & V œ œ ˙ œ œ
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Chapter 4.1 124 Questi primi insegn
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Chapter 4.1 126 6/8, 3/2, 3/4; from
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Chapter 4.1 128 and then suddenly s
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Chapter 4.1 130 requirements of bot
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Chapter 4.1 132 Chromatic passages
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Chapter 4.2 134 4.2.2. CANONS WITH
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Chapter 4.2 136 4.2.3. CANONS AND M
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Chapter 4.2 138 musica a due voci (
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Chapter 4.2 140 4 is based on the h
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Chapter 4.3 142 the recent Hexachor
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Chapter 4.3 144 Ex. 4 1 ? wΓ 2 w A
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Chapter 4.3 146 So we change from t
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Chapter 4.3 148 4.3.6. EXCEPTIONS I
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Chapter 4.3 150 According to the ru
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Chapter 4.3 152 mutation - ‘la so
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Chapter 4.3 154 & # # n n B c B œ
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Chapter 4.3 156 have already seen h
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4.4.1. INTRODUCTION 4.4. OBBLIGHI,
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Chapter 4.4 160 beginners learning
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Chapter 4.4 162 Finally, we have du
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Chapter 4.4 164 obstinacy. In the L
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Chapter 4.4 166 In this example the
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Chapter 4.4 168 Ex. 8 & [bars 40-46
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Chapter 4.4 170 & ? Ex. 11 c c Ó
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Chapter 4.4 172 Lassus (1577) and G
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Chapter 4.4 174 ricercar (Music App
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Chapter 4.4 176 can only envy the h
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Chapter 4.4 178 when the natural an
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Chapter 4.4 180 in duos: inganni an
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Chapter 4.5 182 Elementorum musicae
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Chapter 4.5 184 of mutation using a
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Chapter 4.5 186 Finally, Scaletta g
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Chapter 4.5 188 Youngsters Youngste
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Chapter 4.5 190 1681) managed his o
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Chapter 4.5 192 soon as he memorize
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Chapter 4.5 194 Indeed, quite a few
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Chapter 4.5 196 Sono di già passat
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Chapter 4.5 198 Similarly, in the s
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Chapter 4.5 200 acquires a precise
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5. OTHER DIDACTIC MUSIC IN DUO COLL
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chapter 5 204 the madrigals that bo
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chapter 5 206 Piochi: 3 books Natal
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chapter 5 208 animi delle persone c
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chapter 5 210 2. ‘Canon. Me pente
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chapter 5 212 Ex. 4b The clue is in
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chapter 5 214 B a B a ? ? ? ? Ex. 7
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chapter 5 216 Corti, Ricercari a du
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chapter 6 218 sixteenth century by
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- II - Emil Vogel, Bibliothek der g
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- IV - 44 (1972), 181-213, which li
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- VI - A 25. Gabriello Puliti, Sche
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- VIII - C 8. Girolamo Diruta, Seco
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- X - E 25. Zaccaria Tevo, Il music
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- XII - 59. Banchieri (1623) 4, ‘
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APPENDIX A - COLLECTIONS OF DIDACTI
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- 3 - 31. Cantus cum tenore C S A A
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- 5 - 1564 TITLE-PAGE TENORE | DI A
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10. 19 11. 20 82 12. 21 83 13. 26 8
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CONTENTS Nos. 1-53. - 9 - cC 1543 T
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- 11 - 1584 TITLE-PAGE TENORE | DI
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BIBLIOGRAPHICAL LISTINGS RISM-A: G
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BIBLIOGRAPHICAL LISTING NewVogel: 1
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- 17 - 46. Quant je boy du vin clar
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LOCATION I Bc. - 19 - BIBLIOGRAPHIC
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- 21 - 37. Amor, quando fioria. Qui
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- 23 - BIBLIOGRAPHICAL LISTINGS RIS
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- 25 - 61. Iusquin. Agnus Dei [Miss
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MODERN EDITION Ed. by Andrea Bornst
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- 31 - 1568 TITLE-PAGE TENORE | DI
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- 33 - 1615 TITLE-PAGE CANTO [TENOR
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- 35 - 1670a TITLE-PAGE CANTO [TENO
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Venice, 1550 ! $ ! & b ˙ Bologna,
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- 39 - 19. f. 34v ‘Fantasia 21’
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- 41 - 24. O bella man, che mi dest
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- 43 - wW CONTENTS 1. La marencha S
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- 45 - 7. Lagrimando dimostro. Quin
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- 47 - 9. Vergine, in cui ho tutta
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- 49 - Quandoquidem serenissime ac
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LOCATION I Bc. - 51 - BIBLIOGRAPHIC
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- 53 - TEXTS No. 1: Ecclesiasticus
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- 55 - 7. S T c F n 8. S T c G n 9.
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- 57 - 5. Giuseppe Di Colaianne S T
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- 59 - Pitoni (c. 1725), p. 217:
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- 61 - CONTENTS 1. Cantan fra rami
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- 63 - Nos. 20-27, 36 in Bernard Th
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- 65 - 1605 TITLE-PAGE CANTO [TENOR
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- 67 - cC 1609 TITLE-PAGE CANTO [TE
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- 69 - NOTES Both title-pages are s
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- 73 - Fu sempre la stampa tesorier
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- 75 - 16. Canon. Odi, vedi, ora e
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- 77 - A 20. Antonio Il Verso, Il p
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- 79 - lL A 21. Paolo Fonghetti, Ca
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- 81 - A 22. Giovanni Giacomo Gasto
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- 83 - Pitoni (c. 1725), p. 191:
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LOCATION A Wn - 85 - compositore di
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LOCATION I Bc (C) - 87 - porgere di
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- 89 - 15. V A C G f 16. V A 3 G f
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- 91 - 10. Ricercar Decimo S A c G
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- 93 - 27. A B c A f 28. A B c A f
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BORROWED MATERIAL No. 11: ‘Barrer
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- 97 - A 31. Floriano de Magri, Can
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LOCATION I Bc. - 99 - Di Vostra Sig
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BIBLIOGRAPHICAL LISTINGS RISM-A: B
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LOCATION I Nc. - 103 - Dopo gli obb
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LOCATION I Bc. / b / c - 105 - Ques
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LOCATION I Bc. - 107 - occupazioni
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- 109 - 16. Duo XVI. Canto e alto S
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- 111 - lL A 37. Cristofano Piochi,
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- 113 - 13. Ricercare decimo terzo.
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Gaspari, Catalogo, I, pp. 322-23. W
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No. 2: ‘Iste confessor’. See Ap
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- 119 - rerum omnium concentu hauri
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- 121 - 17. Facilis est vincere non
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PARS VESPERTINA - 123 - 39. Musicam
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MODERN EDITION Ed. by Andrea Bornst
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- 127 - che in questa congiuntura n
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Nos. 30 and 31: ‘Pastorale’. Se
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- 131 - più la venerazione che l
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Gaspari, Catalogo, IV, p. 206. MODE
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- 135 - 38. Canone a 2 in diapason
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- 137 - 23. Solfeggiamento Vigesimo
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Canone a quattro - 139 - CONCORDANC
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- 141 - 21. Ventesimo Primo S A c G
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APPENDIX B - OTHER PRINTS INCLUDING
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- 145 - 3. Duo. Dime, robadora S S
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- 147 - somiglianza de gl’Inni ch
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- 149 - sum: ut meliorem exitum opt
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BIBLIOGRAPHICAL LISTINGS RISM-C, II
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- 153 - B 8. Antonio Brunelli, Rego
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BIBLIOGRAPHICAL LISTING Mischiati,
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- 157 - 33. Primo contrapunto accor
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- 159 - MODERN EDITIONS Nos. 1, 6,
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- 161 - DEDICATION Al molto Illustr
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- 163 - 4. La mort’è il fin d’
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APPENDIX C - DUOS FROM TREATISES lL
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- 167 - • Libro secondo, Chap. 33
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- 169 - C 11. Camillo Angleria, Reg
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- 171 - • Libro Secondo, Chap. 67
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APPENDIX D - MISSING (LOST) COLLECT
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- 175 - lL D 7. Scipione Cerreto, I
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APPENDIX E - QUOTATIONS FROM ORIGIN
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- 179 - iI E 4. Gioseffo Zarlino, L
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- 181 - E 5. Vincenzo Ruffo, Capric
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- 183 - solamente si può usare nel
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- 185 - iI E 11. Girolamo Diruta, S
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- 187 - fF ‘Breve narrativo in ma
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- 189 - canoni, ovvero aggiunzioni
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- 191 - iI E 18. Orazio Scaletta, S
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- 193 - There follows a duo which i
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The passage is followed by a two-pa
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& & & c c c w ∑ ∑ Fa - ∑ ∑
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- 199 - 3. Deve rilevare il giovane
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- 202 - Rodio (1575): ricercare a 4
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2.7. Missa Salvum me fac Domine •
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LITERATURE Einstein, Madrigal, I, p
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OTHER SETTING Gintzler (1547): lute
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ORIGINAL SETTING - 210 - Madrigali
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- 212 - 3.32. Occhi miei lassi, men
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- 214 - 3.41. Ragione è ben ch’a
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- 216 - • Sangiorgio (1608), 30.
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4.5. Ces facheux sotz • Gardane (
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4.17. Jouissance vous donneray •
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4.28. Quant je boy du vin claret
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- 224 - F 5. OTHER VOCAL COMPOSITIO
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OTHER SETTINGS Vecchi (1590): madri
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& & Ruggiero Caresana (1993) œ ˙
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- 230 - with melodic variations, fo
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- 232 - MS Chigi MS 964 Caresana tw
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- 234 - che da Italiani si chiama F
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- 236 - Darbellay, Frescobaldi, pp.
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- 238 - • Strozzi (1683), 23: ‘
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- 240 - • Licino (1545), 13: ‘C
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• Zuccaro (1608), 18: ‘Canon in
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- 244 - description of this practic
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- 246 - • Giamberti (1657), 1:
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F 10. OTHER COMPOSITIONS - 248 - 10
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1 6 % & V b ? b 10 V b ? b 15 V b ?
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3 @ %$ 5 & V 9 & V 13 & V 17 & V 21
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4 Cerreto (1601) Vinci (1560) Ortiz
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27 V b V b V b V b ? b 31 V b V b V
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5 5 Gardane (1539) & V & V V ? Clau
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17 21 & V & V V ? & V & V V ? aceph
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6 Gardane (1539) V ? & V V ? b b b
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V ? & V V ? V ? & V V ? b b b b b b
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7 4 8 @ % & V & V 12 & V 16 & V & V
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8 5 # % & V 10 & V 15 & V 20 & V 25
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9 Scotto (1541) Verdelot (1533) 5 &
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25 & V & V V ? 30 & V & V V ? 35 &
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10 6 & V 11 & V 16 V & V 22 & V @ $
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11 6 @ $ & b V b 11 & b V b 17 & b
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13 #% 7 V V 12 V V 17 V V 22 V V V
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62 œ V V 67 V V 72 V V œ œ œ œ
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14 7 @ % & V 13 & V 19 & V 25 & V b
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65 & V 71 & V 77 & V 83 & V 89 & V
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27 & V 32 & V 37 & V 42 & V 47 & V
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16 5 & & V 10 & & V Duo No. 3 Trio
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17 6 & b V b V b 12 & b V b V b 16
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18 7 & & 12 & & 17 & & 22 & & 27 &
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19 @ Willaert’s duo $ Zarlino’s
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20 5 9 @ % & V & V 14 & V 19 & V 24
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21 4 7 11 % % V V V V V V 15 V V V
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39 V V 43 V V 47 V V 51 V V 55 V V
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22 4 & & 8 & & 12 & & 16 & & 20 & &
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23 Paien (1564) Du Pont (1545) 5 &
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24 & b V & V V b b b b ? b 29 & b V
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24 Paien (1564) Arcadelt (1542) 5 &
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30 & V & V V 34 & V & V V 38 & V &
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25 4 8 @ $ & V & V 12 & V 15 & V 19
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26 5 & & ! # & & œ œ œ œ œ œ
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28 5 & b V b 8 & b V b 11 & b V b 1
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29 5 & b V b 9 & b V b 12 & b V b 1
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30 % Lassus (1577) & % Phalèse (16
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31 5 & V 10 & V 14 & V 19 & V 24 &
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32 5 & b V b 9 & b V b 13 & b V b 1
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33 5 9 # & V & V 14 & V 19 & V 24 &
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34 5 $ V V 10 V V 15 V V 19 V V 23
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35 7 & V 14 & V 22 & V 30 & V 36 &
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36 6 & b V b 12 & b V b 18 & b V b
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37 6 V ? 12 V ? $ & V ? ˙ ˙ œ œ
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38 5 9 @ % & V & V 13 & V 17 & V b
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39 5 V V 9 V V 13 V V 17 V V 21 V V
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50 œ œ V œ œ V 54 V V 57 V V 59
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40 5 ^ ^ ? b ? b ? b 9 ? b ? b ? b
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33 ? b ? b ? b 37 ? b ? b ? b 41 ?
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41 5 & b V b 10 & b V b 15 & b V b
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42 ! # & b & b œ œ œ œ c c 4 .
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43 5 @ $ & b V b 9 & b V b 13 & b V
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44 5 @ % & b V b 10 & b V b 15 & b
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45 8 & V 13 & V 18 & V 23 & V 28 &
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46 6 # % & b V b 11 & b V b 16 & b
Page 600 and 601:
47 8 @ $ & b V b 15 & b V b 22 & b
Page 602 and 603:
48 4 7 @ $ & V & V 10 & V 13 & V b
Page 604 and 605:
49 3 6 9 @ $ & V & V & V 12 & V b b
Page 606 and 607:
50 5 V ? 10 V ? 15 V ? 20 V ? 25 V
Page 608 and 609:
51 5 ! $ & b V b 9 & b V b 13 & b V
Page 610 and 611:
52 5 & b V b 10 & b V b 14 & b V b
Page 612 and 613:
53 $ & V b ? b œ œ œ œ 6 œ œ
Page 614 and 615:
54 @ % 6 & b V b 12 & b V b 17 & b
Page 616 and 617:
55 5 & & 9 & & 13 & & 17 & & 21 & &
Page 618 and 619:
56 5 @ % & b V b 9 & b V b 13 & b V
Page 620 and 621:
57 5 & V 10 & V 15 & V 21 & V 26 &
Page 622 and 623:
58 ! Cantus Secundus. Duo. 7 & & b
Page 624 and 625:
59 5 @ % & V 10 & V 15 & V w & V œ
Page 626 and 627:
60 Banchieri (1625) Arcadelt (1539)
Page 628 and 629:
46 & V & V V b b b b b ? b 54 & V &
Page 630 and 631:
61 ! $ & b V b œ œ œ œ c c w La
Page 632 and 633:
62 6 ? ? 12 ? ? 18 ? ? 24 ? ? 30 ?
Page 634 and 635:
- 392 - 8. Facsimile of the three-p
Page 636 and 637:
64 7 & & 14 & & 20 & & 26 & & 32 &
Page 638 and 639:
66 5 & & 9 & & ! # & & œ œ œ œ
Page 640 and 641:
67 4 % & V b ? b 8 V b ? b 12 V b ?
Page 642 and 643:
68 6 ? ? & & ? ? œ œ œ œ c c œ
Page 644 and 645:
69 5 @ $ & b V b 10 & b V b 14 & b
Page 646 and 647:
70 3 & ? @ & & ? œ œ œ œ c c œ
Page 648 and 649:
71 6 & & 10 & & 15 & & @ @ & & œ
Page 650 and 651:
72 4 & ? 7 & ? 10 & ? 13 & ? 17 & ?
Page 652 and 653:
73 @ @ Γ ✣ A. B. C. E. F. G. 6 &
Page 654 and 655:
74 3 6 8 & & & & & & 11 & & 14 & &
Page 656 and 657:
75 6 @ $ & b V b 11 & b V b 16 & b
Page 658 and 659:
76 6 & V 12 & V 18 & V 24 & V 30 &
Page 660 and 661:
84 & V 88 & V 92 & V 96 & V 100 & V
Page 662 and 663:
77 4 7 ? ? ? ? 10 ? ? 14 ? ? 18 ? ?
Page 664 and 665:
53 ? ? 56 ? ? 59 ? ? 62 ? ? 65 ? ?
Page 666 and 667:
78 7 ! ! & b & b 14 & b & b 21 & b
Page 668 and 669:
86 & b & b 93 & b & b ˙ ˙ ˙ b˙
Page 670 and 671:
79 6 @ & # & ? # 11 # & ? # 16 # &
Page 672 and 673:
81 # & ? # 86 # & ? # 91 # & ? # 96
Page 674 and 675:
80 5 9 @ & & & & 13 & & 17 & & 21 &
Page 676 and 677:
- 434 - 9. Facsimile of Baroni’s
Page 678 and 679:
82 5 9 @ $ & V & V 13 & V 16 & V 19
Page 680 and 681:
83 4 & V 7 & V 10 & V 13 & V 16 & V
Page 682 and 683:
84 5 9 @ $ & & & & 13 & & 17 & & 21
Page 684 and 685:
86 & ? & ? 87 Discantus # Tenor &%
Page 686 and 687:
89 & V & V & V & V & V @ ^ & V d -
Page 688 and 689:
90 6 V ? b 11 V ? b 16 V ? b 21 V ?
Page 690 and 691:
92 4 8 & @ Tenor $ V b & V b 12 & V
Page 692 and 693:
94 Festa II 4 Festa I ? V V 7 V V V
Page 694 and 695:
95 5 10 15 @ $ % & & V V ? & V V ?
Page 696 and 697:
12 & & & V V ? 17 & & & V V ? 21 &
Page 698 and 699:
97 4 8 & V V & V V 12 & V V 16 & V
Page 700 and 701:
98 5 @$ & V 10 & V 15 & V 19 & V 23
Page 702 and 703:
99 & & & & & V & V & V & & 1 w w w
Page 704 and 705:
& V & V V ? & V 38 ˙ œ œ œ œ
Page 706 and 707:
101 5 9 & & V & & V 13 & & V 17 & &
Page 709 and 710:
INDEXES 1. INDEX OF THE COMPOSERS O
Page 711 and 712:
- 469 - Gentile, Carlo Gentile (164
Page 713:
- 471 - Willaert, Adrian Gero (1541
Page 716 and 717:
- 474 - D’Oria, Giacomo Gardane (
Page 718 and 719:
- 476 - Sanmartini, Pietro Corti (1
Page 720 and 721:
- 478 - Dorico, Valerio Rome 1531 C
Page 722 and 723:
- 480 - Silvani, Marino Bologna 170
Page 724 and 725:
- 482 - 1584 Galilei (1584) Florenc
Page 726 and 727:
- 484 - 1681 Caresana (1681) Naples
Page 728 and 729:
- 486 - Title or First Line Collect
Page 730 and 731:
Page 732 and 733:
Page 734 and 735:
Page 736 and 737:
Page 738 and 739:
Page 740 and 741:
Page 742 and 743:
Page 744 and 745:
Page 746 and 747:
Page 749 and 750:
I) PRIMARY SOURCES II) GENERAL BIBL
Page 751 and 752:
- 509 - Berardi (1693) Berardi, Ang
Page 753 and 754:
- 511 - De Magri (1611) Magri, Flor
Page 755 and 756:
- 513 - Gintzler (1547) Gintzler, S
Page 757 and 758:
- 515 - Lassus (1560) Lassus, Orlan
Page 759 and 760:
- 517 - Pitoni (c. 1725) Pitoni, Gi
Page 761 and 762:
- 519 - Tinctoris (c. 1475) Tinctor
Page 763 and 764:
Bellingham & Evans, Bicinia - 521 -
Page 765 and 766:
- 523 - Haar, ‘Early Madrigal’
Page 767:
Seay, ‘Ave Maris Stella’ - 525
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