Two-part didactic music in printed Italian collections of the ...

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ORIGINAL SETTING – 210 – Madrigali a cinque (1540): Verdelot a 5. Modern edition in Verdelot, A gift of madrigals. LITERATURE Einstein, Madrigal, I, pp. 248, 250, 325. cC 3.23. La qual in somm’è questa ch’ognun viva • Paien (ante 1564), 14: ‘La qual in somm’è questa ch’ognun viva’. ORIGINAL SETTING Du Pont (1545), 3. Modern edition by Lino Bianchi and Elio Piattelli, MRI, 7 (1981-82). OTHER SETTINGS Galilei (1568): lute intabulation. 3.24. Madonna il tuo bel viso • Scotto (1559), 14: ‘Madonna, il tuo bel viso’. ORIGINAL SETTING cC Verdelot (1533): Verdelot a 4. Modern edition in Verdelot, Madrigals. OTHER SETTING Verdelot, Intavolatura. LITERATURE Einstein, Madrigal, I, p. 252; III, p. 29. 3.25. Ne l’odorato e lucid’oriente • Paien (ante 1564), 12: ‘Ne l’odorato e lucid’oriente’. ORIGINAL SETTING cC Du Pont (1545), 1. Modern edition by Lino Bianchi and Elio Piattelli, MRI, 7 (1981-82). OTHER SETTING Galilei (1568): lute intabulation. 3.26. Non mirar non mirare cC • Banchieri (1613c), 13: ‘Del Principe di Venosa. Primo esempio volgare. Soprano, Contrapunto. Non mirar, non mirare’. • Banchieri (1625), 12: ‘Contrapunto sopra Non mirar. P. di Venosa Giesualdo’. ORIGINAL SETTING Gesualdo (1594): Gesualdo a 5, soprano. Modern edition by Wilhelm Weismann, Sämtliche Madrigale für fünf Stimmen nach dem Partiturdruck von 1613, I (Hamburg: Ugrino, 1962). NOTES Banchieri added a new tenor with text to Gesualdo’s soprano. The original staff-signature is A, but both Banchieri’s duos end in G, even if the 1613c version begins in A in the natural scale and the 1625 one begins in G in the transposed mode (D). cC
3.27. Non più guerra pietate – 211 – • Banchieri (1613c), 14: ‘Di Claudio Monteverde. Secondo esempio volgare. Soprano, Contrapunto. Non più guerra pietate’. • Banchieri (1625), 5: ‘Contrapunto sopra Non più guerra pietate. Claudio Monteverde’. ORIGINAL SETTING Monteverdi (1603): Monteverdi a 5, soprano. Modern edition by Andrea Bornstein, ODH, 4 (1998). NOTES Banchieri added a new tenor with text to the original soprano. The 1625 version is longer than the 1613c for 8 bars in conclusion. Monteverdi’s madrigal is 77 bars long, the 1625 version only 60, but Banchieri managed to add an eight-bar-long coda, wisely cutting some repeated bits of the original piece. cC 3.28. Non pò far Morte il dolce viso amaro • Scotto (1559), 21: ‘Non pò far Morte il dolce viso amaro’. ORIGINAL SETTING Verdelot (1534): Verdelot a 4. Modern edition in Verdelot, Madrigals. LITERATURE Einstein, Madrigal, I, p. 249. 3.29. Non v’accorget’amanti cC • Scotto (1541), 2: ‘Non v’accorget’amanti – La doppia sua bellezza. Quinti toni’. ORIGINAL SETTING Arcadelt (1539): Arcadelt a 4. Modern edition by Albert Seay, CMM, 31 (1970). LITERATURE Bernstein, ‘Scotto’. cC 3.30. Non vi fidat’ o semplicetti amanti • Scotto (1559), 20: ‘Non vi fidat’ o semplicetti amanti’. ORIGINAL SETTING Verdelot (1533): Verdelot a 4, basso. Modern edition in Verdelot, Madrigals. 3.31. O s’io potessi donna cC • Scotto (1541), 29: ‘O s’io potessi donna. Primi toni’. ORIGINAL SETTING Arcadelt (1539): Berchem a 4, soprano. Modern edition by Albert Seay, CMM, 31, 2 (1970). OTHER SETTINGS Vindella (1546): lute intabulation. Barberiis (1546): lute intabulation. Bianchini (1546): lute intabulation. Gintzler (1547): lute intabulation. cC
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TWO-PART DIDACTIC MUSIC IN PRINTED
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ABSTRACT Two-part compositions were
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3.5. Motets and Sacred Madrigals p.
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ABBREVIATIONS AND LIBRARY SIGLA Whe
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RISM-Addenda Répertoire Internatio
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I PLn Italy - Palermo, Biblioteca N
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Chapter 1 2 some music manuals of t
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Chapter 1 4 Einstein was confident
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Chapter 1 6 1.3. THE CONSISTENCY OF
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Chapter 1 8 music publishers, Ottav
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Chapter 1 10 It is easy to identify
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Chapter 1 12 Al Signor Gioseffo Gua
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Chapter 2 14 2.1. DUOS IN JOHANNES
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Chapter 2 16 conjectures fits in we
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Chapter 2 18 In the sources listed
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Chapter 2 20 do not want to analyse
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Chapter 2 22 Festa avoids cadences,
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Chapter 2 24 Perhaps the six recerc
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Chapter 2 26 2.5. MANUSCRIPT DUOS N
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Chapter 2 28 with Tinctoris’s duo
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Chapter 2 30 Ex. 4 & b b a V b b C
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3.1.1. INTRODUCTION 3. DIFFERENT KI
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Chapter 3.1 34 MADRIGALS Madrigals
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Chapter 3.1 36 short duos composed
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Chapter 3.1 38 ‘Scherzi, capricci
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Chapter 3.2 40 2. All the treatises
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Chapter 3.2 42 material by Flemish
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Chapter 3.2 44 of a texted-duo coll
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Chapter 3.2 46 tenore di buona voce
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Chapter 3.2 48 explicitly declares
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Chapter 3.2 50 as a sort of no-man
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Chapter 3.2 52 stand about this col
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Chapter 3.2 54 vocal practice, beca
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Chapter 3.2 56 Ex. 5 14): Ex. 6 & &
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3.3. THE TWO-PART CHANSON The first
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Chapter 3.3 60 Venice for the first
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3.4. THE MADRIGALIAN DUO 3.4.1. INT
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Chapter 3.4 64 • both duos were i
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Chapter 3.4 66 SCOTTO (1541) FROM K
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Chapter 3.4 68 del Bembo con la mus
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Chapter 3.4 70 for lute and in two
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Chapter 3.4 72 were also conceived
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Chapter 3.4 74 likelihood the two m
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Chapter 3.4 76 was not possible, th
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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
Page 401 and 402: - 159 - MODERN EDITIONS Nos. 1, 6,
Page 403 and 404: - 161 - DEDICATION Al molto Illustr
Page 405 and 406: - 163 - 4. La mort’è il fin d’
Page 407 and 408: APPENDIX C - DUOS FROM TREATISES lL
Page 409 and 410: - 167 - • Libro secondo, Chap. 33
Page 411 and 412: - 169 - C 11. Camillo Angleria, Reg
Page 413 and 414: - 171 - • Libro Secondo, Chap. 67
Page 415 and 416: APPENDIX D - MISSING (LOST) COLLECT
Page 417 and 418: - 175 - lL D 7. Scipione Cerreto, I
Page 419 and 420: APPENDIX E - QUOTATIONS FROM ORIGIN
Page 421 and 422: - 179 - iI E 4. Gioseffo Zarlino, L
Page 423 and 424: - 181 - E 5. Vincenzo Ruffo, Capric
Page 425 and 426: - 183 - solamente si può usare nel
Page 427 and 428: - 185 - iI E 11. Girolamo Diruta, S
Page 429 and 430: - 187 - fF ‘Breve narrativo in ma
Page 431 and 432: - 189 - canoni, ovvero aggiunzioni
Page 433 and 434: - 191 - iI E 18. Orazio Scaletta, S
Page 435 and 436: - 193 - There follows a duo which i
Page 437 and 438: The passage is followed by a two-pa
Page 439 and 440: & & & c c c w ∑ ∑ Fa - ∑ ∑
Page 441: - 199 - 3. Deve rilevare il giovane
Page 444 and 445: - 202 - Rodio (1575): ricercare a 4
Page 446 and 447: 2.7. Missa Salvum me fac Domine •
Page 448 and 449: LITERATURE Einstein, Madrigal, I, p
Page 450 and 451: OTHER SETTING Gintzler (1547): lute
Page 454 and 455: - 212 - 3.32. Occhi miei lassi, men
Page 456 and 457: - 214 - 3.41. Ragione è ben ch’a
Page 458 and 459: - 216 - • Sangiorgio (1608), 30.
Page 460 and 461: 4.5. Ces facheux sotz • Gardane (
Page 462 and 463: 4.17. Jouissance vous donneray •
Page 464 and 465: 4.28. Quant je boy du vin claret
Page 466 and 467: - 224 - F 5. OTHER VOCAL COMPOSITIO
Page 468 and 469: OTHER SETTINGS Vecchi (1590): madri
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Page 472 and 473: - 230 - with melodic variations, fo
Page 474 and 475: - 232 - MS Chigi MS 964 Caresana tw
Page 476 and 477: - 234 - che da Italiani si chiama F
Page 478 and 479: - 236 - Darbellay, Frescobaldi, pp.
Page 480 and 481: - 238 - • Strozzi (1683), 23: ‘
Page 482 and 483: - 240 - • Licino (1545), 13: ‘C
Page 484 and 485: • Zuccaro (1608), 18: ‘Canon in
Page 486 and 487: - 244 - description of this practic
Page 488 and 489: - 246 - • Giamberti (1657), 1:
Page 490 and 491: F 10. OTHER COMPOSITIONS - 248 - 10
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Page 498 and 499: 27 V b V b V b V b ? b 31 V b V b V
Page 500 and 501: 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
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47 8 @ $ & b V b 15 & b V b 22 & b
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48 4 7 @ $ & V & V 10 & V 13 & V b
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49 3 6 9 @ $ & V & V & V 12 & V b b
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50 5 V ? 10 V ? 15 V ? 20 V ? 25 V
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51 5 ! $ & b V b 9 & b V b 13 & b V
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52 5 & b V b 10 & b V b 14 & b V b
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53 $ & V b ? b œ œ œ œ 6 œ œ
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54 @ % 6 & b V b 12 & b V b 17 & b
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55 5 & & 9 & & 13 & & 17 & & 21 & &
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56 5 @ % & b V b 9 & b V b 13 & b V
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57 5 & V 10 & V 15 & V 21 & V 26 &
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58 ! Cantus Secundus. Duo. 7 & & b
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59 5 @ % & V 10 & V 15 & V w & V œ
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60 Banchieri (1625) Arcadelt (1539)
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46 & V & V V b b b b b ? b 54 & V &
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61 ! $ & b V b œ œ œ œ c c w La
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62 6 ? ? 12 ? ? 18 ? ? 24 ? ? 30 ?
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- 392 - 8. Facsimile of the three-p
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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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