Praecepta musicae poëticae [Illustrated] 0252032446, 9780252032448

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Gallus Dressler, Prwcepta musicae poéticw (The Precepts of Poetic Music) The Praecepta musicae poiiticas by Gallus Dressler (1533-l580/89) has been recognized in recent years as one of the most important sixteenthppnhuru and nnmnnchinn vv..u.._, nprmnn uvu..u.. trnnh'cpe uyuuwg rUMinrr Mwullb with n .u. thm ulv tl-mnm uwv.’ uuu '"""h""'""'" nf v- muah“nun“

Dressler's treatise, which survives in a single and highly problematic manuscript, was originally delivered as a series of lectures for advanced students at the Lateinschule in Magdeburg---where Dressler was Cantor-between the dates of 21 October 1563 and 29 February 1564. The first seven chapters of the treatise draw on the treatises of Johannes Galliculus and Heinrich

Faber, covering the basic materials of music and forming a groundwork for the following eight chapters. These later chapters, which form the major

part of the treatise, contain the most important of Dressler’s contributions to sixteenth-century music theory. In particular, chapters 1l-14 are full of

important and original insights on the invention of fugues; the composition of opening, middle, and concluding sections; and musical rhetoric. Arranged on facing pages are an entirely new and improved edition of the treatise and the first English translation, supported by copious annotations and an extended introduction. Koben rorgacs recelvea ms rnu. trom me Unwersny ot New boum Wales in 1997 and now lectures on music and cultural history in Tertiary/Adult Education in Sydney. He also works professionally as a translator of both Latin and French.

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Studies in the History of Music Theory and Literature Thomas J. Mathiesen, General Editor

volume 3

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Gallus Dressler

Pracepta musica poiitica (The Precepts of Poetic Music)

New Critical Text, Translation, A __________ JT_ J:---L_.

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Robert Forgécs

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Urbana and Chicago

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© 2007 by the Board of Trustees of the University of Illinois All rights reserved

Manufactured in the United States ofAmerica C S 4 3 2 l

9 This book is printed on acid-free paper.

complete V'ataMWrtg-m-t'utmcato1 mlormanon is on file at the Library of Congress. ISBN-IO: 0-252.03244-6 ISBN-IS: 978-0-25b03244-8

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CONTENTS PREFACE AND A CKNOWLEDGMENTS ......................................

INTRODUCTION ........................................................................... Dressler's Life, Character, and Works ................................... The Composition, Sources, Form, and Content

of Dressler's Prwcepta musicae poiiticas ............................. The Manuscript. The Edition . Synoptic Chart Listing the Variants among the Three Published Editions of Dressler’s Prascepta musiae poiiticar ....................................................... Pnucncrvn m {‘nrunm n . "l n'r \ln'rA nl n1 -. L/Ul‘ornx. I uo puulym, nnrnnuu uuununum nunuuuu

PRECEPTA MUSICAE PoryrltMi A D. GALLO DRESSELERO NEBREO ..-------.--_--.-.

Praefatiuncula . Caput I: De definitione et divisione musics: poiiticas . Caput II: De sonis seu de vocibus et consonantijs ....... Caput III: De dissonantijs m........................................................-''.'...'.

Caput [111: De prohibitis intervallis .................................................. lt Caput V: De usu quarts et sextte ..................................................... 10 Caput VI: De partibus cantilenarum ................................................. 12t

Caput VII: De connextione consonantiarum ..................................... 128 Fun." hfTrr. no "rr-rl-ss, n} Ai

“'an M-G..".., wayun. v Au. :1» wvuouluuvuw " ulvlaluuu uauaunmulu ..

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Caput IX: De usu clausularum .......................................................... 152

Caput X: De pausis ........................

.. 162

Caput XI: De inventione fisganun .

. 164

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Caput XII: De fingendis exordijs m....................................................'. 172 Caput XIII: De medio constituendo ..

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Caput XIV: De constituendo fine ......

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Caput XV: De ratione progrediendi in hoc studio ............................ 188 Appendix ...-..-....p.....-...r..-.......-.-.-.-t... 190 10: 17.1

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INDEX VERBORUM .................................................................................. 201 INDEX NOMINUM ET RERUM FtmFemFFFFtmF_m....._mtmmmr.tF_r__r__r_.m.__r.

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PREFACE AND ACKNOWLEDGMENTS Several years ago, following the completion of my Ph.D. dissertation on the music of Orlando di Lasso, I began this critical edition of Dressler's Praecepta musicae poiiticar, one of the most important works on musical composition written in sixteenth-century Germany. Dressler's treatise had come to my attention because of its various references to the importance of Lasso's music, and I included and translated several extracts in my dissertation. As there was no full translation of the Praecepm musicae poiitieas available at the time, it seemed desirable to prepare a critical edition and translation to bring his work to a wider audience. I had already completed and submitted preliminary drafts when an edition and French translation of the treatise, edited by Olivier Trachier and Simonne Chevalier, was published1n the Collection “Epitome musical" of the Centre d' Etudes Superieures de la Renaissance (Paris-Tours: Minerve, 2001). It was essential, of course, for me to take account of this new edition in my own work, and the reader will find fre-

''' u..u,. . quem rererences TO " mrougnout Lnis 000K, 1nctuu1ng mscussxon anuSt,',,', momation of various differences between the two editions. Prior to the edition and translation of Trachier and Chevalier, only the Latin text had been edited by Bernhard Engelke, published in the Geschichtsbliitter fir Stadt and Land Magdeburg in 1914-15. The present edition offers a detailed study of the Latin text with a full critical apparatus, while the Introduction and annotations to the translation

situate Dressler's work firmly within its scholarly, humanist environment.

In addition, it places the treatise within the broader context of the theoretical discussion of music in sixteenth-century Germany, the teaching and practice of music in the Lateinschulen of the time, and the musical life of the Lutheran Church, especially at Magdeburg where Dressler was Cantor. I owe a debt of gratitude to Professor David Crook of the University of Wisconsin-Madison, who first supplied me with a copy of the Engelke version of Dressler's treatise, which was unavailable at that time in Australia,

and who provided initial encouragement for my translation. I am also very grateful to Frances Muecke, Senior Lecturer in Classics at the University of Sydney, who helped with the translation of some of the more difficult passages of the treatise and has always been very willing to share her knowledge vii

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viii of the classical world and Renaissance humanism. Furthermore, I am indebted to the Musikabteilung of the Staatsbibliothek zu Berlin for permission to reproduce in this book the photographs of Dressler’s manuscript and to the Director of the Musikabteilung, Dr. Helmut Hell, who graciously allowed me free access to Dressler’s manuscript during an idyllic week's work in the library in March 2001. Finally, I acknowledge an especial debt of gratitude to Professor Thomas Mathiesen, the editor of this series, whose unurmg, meticulous scholarship, tnougntrul cntlclsm, and continued support, interest, and mentoring have allowed this project to reach completion, despite the difficulties necessarily involved in working between continents and hemispheres, not to mention differences in conventions of spelling, grammar, and punctuation. I am also very grateful to the Center for the History of Music Theory and Literature for assistance in preparing the musical examples in sixteenth-century notation for the Latin pages of the treatise, which add so appreciably to recreating the appearance of Dressler's original manuscript. Projects such as this are notorious for taking longer to complete than originally envisaged, and I must thank my wife Christine and sons Edward and Michael for patiently living with Dressler for the duration, hearing him referred to more often than they may have wished, and even for spending some-hopefully-mot totally unpleasant mornings in the Staatsbibliothek zu Berlin while I was working on the manuscript.

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INTRODUCTION mnehwm yumwm "r,atir- u, nfflnllue nvnnelav AThu ur. IDmnnn'g ”~~qu "mama. Unllua wrung.“

The importance of Gallus Dressler’s Precepta musicaz poiiticte among sixteenth-century German treatises dealing with the theory and composition of music has received increasing recognition during the past few decades. In 1980 Harold Powers, in The New Grove Dictionary ofMusic and Musicians, described it as a "clear and thoughtful manuscript treatise" that "brings the doctrines of modality and counterpoint into as close a symbiosis as they were ever to achieve.'" George Buelow in the same publication noted that it was one of the earliest music treatises that "referred to a formal organization of music that would adopt the divisions of an oration into exordium (opening), medium and finis."2 Recently, Jessie Ann Owens, in her Composers at Work, The Craft ofMusical Composition 145ty-1600) has situated the treatise firmly within its historical context and written that it is "both characteristic in its contents and exemplary in its clarity," adding that "a new edition and translation are sorelv needed." Despite these positive assessments, until very recently no complete translation of the work had been made, nor had Dressler's original Latin text been the subject of any critical study. The treatise has not been totally neglected, however. An edition of the Latin text appeared in print in 1914, edited by Bernhard Engelke,4 which, while it presented a generally reliable version of the author's manuscript, could not be expected to meet modem critical requirements. In addition, a useful summary of the treatise in German appeared in two important publications: Wilhelm Martin Luther's major biography and study of the composer entitled Callus Dressler, Ein Beitrag zur Geschichte IHarold s. Powers, "Mode," The New Grove Dictionary ofMusic and Musicians, 20

vols., ed. Stanley Sadie (London: Macmillan, 1980), 12:403. _2George J. Buelow, "Rhetoric," The New Grove Dictionary of Music and Musicians,

20 vols.. ed. Stanley Sadie (London: Macmillan. 1980), 15:794.

3Jessie Ann Owens, Composers at Work, The Craft of Musical Composition J450-

1600 (Oxford: Oxford University Press, 1997), 16, n. 19.

4Bemhard Engelke, ed. "Gallus Dressler, Praecepta musicae poeticae," Geschichts-

bliitterfttr Stadt und Land Magdeburg 49/50 (l914-19l5): 213-50.

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des Protestantischen Schulkantorats im M. Jahrhundertss and Ernst Apfel's Geschichte der Kompositionslehre, van den Anfiingen bis gegen 1700.6 Moreover, several lines from the treatise, relating to mode and contrapuntal technique, were translated into English in Powers's article on mode, while several of Dressler’s compositional rules had been quoted in Latin and translated into English by Ellen S. Beebe in an appendix to her article "Text and Mode as Generators of Musical Structure in Clemens non Papa's Annnnnnmnu nil ueaum. 'nlunm "7 nLI/coacr um uu

The publication of a new edition of Dressler's treatise with a translation into French by Olivier Trachier and Simonne Chevalier in mid 20018 constitutes a major contribution to research on the work of Dressler and sixteenthcentury music theory in general. This excellent publication presents a detailed study of Dressler's text and the context in which it was written, looking at the major influences on the composition of the treatise and its very significant role in the German theoretical tradition. The editors have also been able to decipher more of the text and the musical examples than was previously possible, and they have highlighted the close relationship between Dressler's concept of musica poiitica and the increasingly rhetorical approach to the composition of music characteristic of the later sixteenth century. In addition, Olivier Trachier's recent edition and translation of another of Dressler's treatises, his Practica modorum explicatio (Jena, 1561),9 is used to inform his comments on this work. The justification for a further edition of Dressler’s Prarcepta musicce poiiticas is provided by the fact that not only has there has been no complete translation of the treatise into English but also my own study of the manuscript has allowed me to decipher more of the text than Trachier and Cheva, lier, particularly in some troublesome passages, and to correct some readings in their edition that I believe to be inaccurate. Furthermore, my approach to this work differs significantly from theirs. My commentary on the translation of Dressler’s text seeks to place the treatise more fully within its

5tiisttinger Musikwissenschaftliche Arbeiten, VOL 1 (Kassel: Blirenreiter, 1941). 63 vols. (Wilhelmshaven: Heinrichshofen’s Verlag, 1981), 1:295-301.

7In Music and Language, Studies in the History of Music, vol. 1 (New York: Broude Brothers, 1983), 93. UBHIIS UICSSIBI', rrtecePra "HISXCQ poencw, CO. anu Irans.u||v1er 1rl"rn."'r iU1U

Simonne Chevalier, Centre d' Etudes Supérieures de la Renaissance, Collection “Epitome

musical" (Paris-Tours: Minerva, 2001).

9Gallus Dressler, Fraction modorum explicatia, ed. and trans. Olivier Trachier

(Conf1ans-Sainte-Honorine: Editions RITM, 2000).

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humanist environment and to locate as many of the Classical sources of the author's learning as possible, while relating it closely to the work of relevant contemporary music theorists. In addition, I believe that my description of

the manuscript itself and my analysis of the handwriting of the scribes involved is more detailed and revealing than any of the previous studies and constitutes an important insight into the composition, correction, and delivery of the treatise. These contributions to Dressler research are set out in rvr.exri- Ab.n;‘ i... 01...: e.....,.-.. “H " ru.'.. T.,+...,A,,.,r.'.,., n- I., oLn unfit. 990w: ucmu nu uic ouuacqucul aculuua UL uu, uluuuuuuuu UI Au ulc unnu-

tations accompanying the translation. Dressler’s Life, Character, and Works The most detailed research on the life and works of Dressler remains that undertaken by Bernhard Engelke'o and Wilhelm Martin Luther." Trachier notes in the introduction to his edition of Dressler's Prascepta musicw poiiticas that "within the bounds of this work, it would not be possible to

treat the life and work of Gallus Dressler in detail. The following pages, therefore, only constitute a general biographical summary, based on the research of Bernhard Engelke and Wilhelm Martin Luther."l2 Despite this disclaimer, Trachier raises a number of interesting points and offers several new interpretations regarding Dressler, which make his discussion of the composer/theorist, arranged under the chronological subheadings of the most important dates known about him, particularly clear. The major points raised by mm Wlll tneretore be 1nClu0et1 in me touowmg mscusswn or Dressler’s life and career, which is based on the framework provided by surviving contemporary documents and the composer's own words and works. Gallus Dressler was born on 16 October (the feast day of St. Gall, after whom he was named) in the year 1533 at Nebra, Thuringia. This can be seen m‘Einige Bemerkungen zu Dresslers Praecepta musicae poeticae," Geschichtsblittter Jar Stadt und Land Magdeburg 49/50 (19l4-1915): 395-401. Trachier has included an annotated translation of this article into French in the introductory material to his edition, pp. 79-85. 11see n. 5 above. A summary of some of the main points of this study are to be found in W. M. Luther's article “DreBler, Gallus," Die Musik in Geschichte und Gegenwart, l7 vols. (Kassel: Bareneiter, 1949-86), 3:801-6, while the article, "Dressler, Gallus." The New Grove Dictionary of Music and Musicians, 2d ed., 29 vols., ed. Stanley Sadie (London: Macmillan, 2001), 7:588, by Walter Blankenburg/Clytus Gottwald is also DISCO on uns researon.

'2“da.ns le cadre de cet ouvrage, il ne saurait étre question de trailer en détail la vie et

l'muvre de Gallus Dressler. Les pages qui suivem ne constituent done qu'un apercu biographique general, base sur les travaux de Bernhard Engelke et de Wilhelm Martin Luther." Tmchier, Pracepta, I.

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from the preface to one of his later publications, the Magnificat octo tonamm 4 vacum (Magdeburg: Wolfgang Kirchner, 1571), in which he states that the work is appearing in print on his thirty-eighth birthday: "the 16th of October, on the very day on which I was born 38 years ago in the town of Nebra in Thuringia.'u3 It is generally presumed that he spent his childhood in his native town, where he must also have received his earliest education.M The first documentary reference to him dates from July 1557, when, at 1mm '""'""""r Anat‘nmu Ths, cu flan uw am: "et thxmnmew v: uvuu; num, kn uv nnrnllml vlnvlluu the ua a u ehnlnnf muuun m an Hm un. .u.uu 'lhbr

Academy at this time was very much under the influence of the outstanding German humanist scholar, theologian, and associate of Martin Luther,

Philipp Melanchthon (1497-1560), often called the prwceptor Germania: because of his important contribution to education in Germany. His liberal theological views were advocated by two scholars at Jena: Victorin Strigel and Johann Stigel. These views seem to have made a deep impression on the young Dressler," as subsequent events in his life indicate. Twenty-four was an unusually advanced age to begin tertiary studies for that time, and in a dedicatory poem written by Master Casparus Stumus Smalchaldensis and printed in the prefatory material to Dressler's XVII cantiones sacrae, qvatvor et qvinqve vocum of 1565,l6 Stumus states that Dressler had visited the Netherlands and by implication gained a thorough musical training there, before his arrival in Jena. In addition, throughout the poem Stumus

l3“16. notch. in ipso die, quo ante annos 38 Nelme Thuringat oppido natus fui"; quoted in Luther, Callus Dressler, 12.

"At the time of Dressier’s birth, Thuringia formed part of Albertine Saxony and was

ruled by Duke Georg, whose hostility to Lutheranism led to a ban on all Reformation doctrines and practices in his Electorate. The death of Georg early in 1536 and the accession of his brother Heinrich as Elector completely changed the religious situation during Dressler’s early school years. As Heinrich favored reform, during the next three years thorough preparations were made for the official adoption of Lutheranism throughout the area in 1539. 15Melanchthon’s major disagreement with Luther was over doctrines that seemed to him to threaten such essential human qualities as rationality, freedom, and responsibility.

He was uncomfortable with Luther's emphasis on predestination and irresistible grace and favored a theology that allowed a place for synergism, i.e., the co-operation of the human will with the divine. His most important theological works were the Loci commune: rerum thealagicarum of 1521, which represents the first extensive corpus of Protestant doctrine, and the Augsburg Confession and Apology of 1531, which became the doctrinal standards of the Lutheran Church. As a moderate, Melanchthon was also interestedin possible reconumauun wnn Dun] mc Roman ViunuuU' unurun anu me palvlmsls. oer: Uch LMUWICK,

Die Reformation, rev. ed. (Harmondswonh: Penguin Books, 1972), 65-67, 141-44.

16Published by Georg Rhaw, Wittenberg, 1565; reprint, A. Helm and R. Eitner in

Publikation ttlterer praktischer und theoretische Musikwerke, vol. 24 (Leipzig: Breitkopf

und Hiirtel, 1900).

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places Dressler firmly within the long-established Franco-Flemish musical tradition, which he contrasts with more recent German achievements in the

arts.I7 This poem, which has not previously been translated (except for one or two lines), is quoted below in full. It is particularly notable for its witty word play on the associations between the name Gallus and the Latin nouns for Gaul and the Gauls: Gallia pre reliquis laudem modulando meretur.

Gallia cantores nata create bonos.

Sic sua libitu dispensat munera Christus,

Sic uariam uarijs dotibus omat humum.

Gaul deserves praise for its singing before all others, Gaul born to create good singers. Thus Christ at his pleasure dispenses

his gifts, Thus he adorns the varied countries with varied talents.

Vna tamen longe cunctas Germania

terms Muneribus uincit concumulata suis. Nam Iicet inprimis uiget inter Musica Gallos,

However, Germany alone conquers the rest of the lands by far, Overburdened with her own gifts. For though music flourishes particularly among the Gauls

Non tamen hac prorsus Teutonis ora

It is not, however, utterly absent

caret. Sap: etiam mira lepidi dulcedine cantus, Gennani Gallos exunerare solent.

from the Teutonic shore. Often even the Germans are want to surpass the Gauls With the wonderful sweetness of their charming song.

Hoc prasens testatur opus, quod sydere fausto Prodijt ex ludo Parthenopyrga tuo.

The present work proves this, which under a favorable star An adherent of Parthenope" brought forth from your school. Gratia Christe tibi, quod nos quoque Thanks to you, o Christ, because you dotibus omas, also adorn us with talents, Nostraque ceu comu diuite regna bees. And you bless our kingdom as if with a rich cornucopia. lit tibi debentur quoque grates optima And to you also, excellent Cantor, Cantor,

thanks are due

”Luther, “DreBler, Gallus," 3:801. lsIn Greek mythology, Parthenope was one of the sirens and founder of the city of Nantes, . ~-r--~ In ... earlier Greek "tvthrunov ...,,, the -v Grrave were known mainlv for _ the - drstruetive

power of their ad butIn Plato' s Republic they create the harmony of the spheres. By

Hellenistic times they had come to symbolize musical creativity in general, and thisIs

clearly the sense in which the title is used in this poem to praise Dressler and his art. On

the Sirens and Parthenope, see Die Oxford Companion to Classical Literature, 2d ed., ed. Margaret C. Howatson (Oxford: Oxford University Press, 1989), 411, 525.

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Qui merito Galli nomen et omen Who by rights possess the name and habet. sign of Gallus. Nam, quoniam regio quondam te For, since at one time the Belgic Belgica uidit, region saw you, Nunc Gallos aequas Ausoniosque uiros. Now you are the equal of Gallic and Italian men. Et nulli parcis studio, nec sumtibus And you spare no effort, nor any ullis, expense, Ut teneat Mrem Musica sancta suum. So that sacred music may flourish. Adde quod harmonicis immisces talia Add to this, that you unite to the nervis, harmonic strings such remarkable sayings Qua sunt ex sacris dicta notata libris. Which are notated in the sacred books. Scilicet ham superos diuino cannine Certainly these things caress the mulcent, heavenly beings with their divine song, Has est aatemo Musica grata Deo. This music is pleasing to the eternal God. Perge igitur Christi laudes celebrate Continue, therefore, to celebrate the canendo, praises of Christ with your singing, Clarescat scriptis Teutona terra tuis. May the Teutonic land become famous through your writings. Sic tua Demetuis inscribet nomina Thus mav the learned vouth. that cedris, now cultivates Parthenope, Quae nunc Parthenopen docta inuenta Inscribe your name on everlasting colit. cedar. Sic tua fiorebit fama per orbem, Thus your fame will flourish throughout the world, Fama per teternos non moritura dies. Fame which will not die throughout everlasting days. W. M. Luther," Walter Blankenburg, and Clytus Gottwald20 have

surmised that during his stay in the Netherlands, Dressler may have studied with Clemens non Papa. Nevertheless, while it is true that Dressler in his theoretical works refers to the compositions of Clemens more often than to those of any other composer and was strongly influenced by his compositional style, neither Stumus's dedicatory poem nor any other documentary material has so far established a pupil-teacher relationship between the two r‘nmnncprq Trnrhipr ha: ulaopctpd .. that nun thnuoh ulvusll nrocclpr unnmuu nlaarlv my...” vieitnd um“... thr, u...

19Luther "DreMer, Gallus," 3:801-2. 20Blankenhurg/Gottwald, "Dressler," 7:588.

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Netherlands during these years, the influence of the Franco-Flemish masters

on him may have come through his acquisition and study of recently published compositions and by means of more casual personal contacts than through a musical apprenticeship,2l a suggestion that seems quite valid. Further autobiographical details can be gleaned from the prefaces to some of Dressler’s other publications. With regard to his assumption of duties as Cantor at the Lateinschule at Magdeburg, Dressler gives two clinhtlv "rsv,fTirsth,e, ninm-c v: nfinfnrmatinn In ths, nrnfann hie lwl WYm-mn‘nnm"" 5n n, uuvtuls y-vvva uuvu uuull . uu.y y. y...“ tn w u.» - W.

4, 5 vocum (Magdeburg: Wolfgang Kirchner, 1569), he implies that he too up officer"In 1559, for he writes: "Nevertheless, as I was placedin this position by divine influence, now, with God's help, I have been employed in the

school at Magdeburg for a decade."22 In the preface to his XC cantiones, 4 et plurimum vocum (Magdeburg: Wolfgang Kirchner, 1570), however, Dressler suggests in two separate sentences that his initial year at Magdeburg was 1558: "Since by divine providence it had come about that twelve years ago the profession of the art of music commended me to the school of Magdeburg'",23 and "... twelve years ago ... at this very time, when I was employed in this office."" Whichever date is correct (and both Luther and Trachier favor the earlier date), it is particularly striking that this office was assumed after only one year of study at the Jena Academy. As previous studies of Dressler have emphasized, this position was of very considerable importance in Germany: Dressler's immediate predecessor was Martin Agricola (1486-1556), one or the leading musical figures associated with

Luther and the early Reformation. In addition, it has been noted that the position was kept vacant for the two-year period between Agricola's death and Dressler's arrival." Obviously, a successor worthy of Agricola was

being sought, and Dressler must have impressed those responsible for the

2ITrachier, Prwcepta. 3. Tmchier also notes that Hermann Finck, several years earlier, had referred to various motcts by Clemens as appropriate musical examples to illustrate points made in his Fraction musica (Wittenberg: Georg Rhaws Erben, 1556; reprint, Hildesheim: Olms, 1971), f. Rriij. 22"Tamen cum divinitus in hanc stationem collocatus sim, ut in schola Magdeburgensi, in qua Deo iuvante, decennium nunc versatus fin"'; quoted in Luther, Callus Dressler, 37.

23“Cum divina providentia factum esset, ut ante duodecim professio anis Musicae mihi commendaretur in celeberrima schola Magdeburgensi annos"; ibid.

2h. ... ante annos duodecim ... toto hoc tempers, quo in co munere versatus sum ..."; ibid. 25See Luther, Gallus Dressler, 34-35; Blankcnburg/Gottwald, "Dressler"; and Engelke, "Bemerkungen," 398.

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appointment that despite his comparative youth and inexperience, he could more than adequately meet their requirements. The years Dressler spent at Magdeburg were of central importance to his career, since virtually all of his compositional activity and his theoretical writings date from this fifteen-year period. In the first category are, set out chronologically, his Aliquot Psalmi Iatini et germanici, 4, 5 et 6 vocum (Heilbronn, Gymnasialbihliothek Ms.VIIi, 1560), alien deudscher Psalmen in vier und mehr Stimmen gebracht (Jena: Donato Richzenhain. 1562K XVII cantiones sacrw qvatvor et qvinqve vocum (Magdeburg: Georg Rhaw, 1565), Epitaphium piisinue et honestissimw matrome Magdalena: conjugis ... Christophori Petzelii (Wittenberg: Johann Schwertel, 1566), XVIII cantiones 4 et plurimum vocum (Magdeburg: Wolfgang Kirchner, 1567), Das schiine Gebet, Herr Jesu Christ p.. 4 vacum and XIX cantiones 4, 5 vocum (Magdeburg: Wolfgang Kirchner, 1569), XC cantiones 4 et plurimum vacum (Magdeburg: Wolfgang Kirchner, 1570), XVI Geseng mit vier und mehr Stimmen (Magdeburg: Wolfgang Kirchner, 1570), Magnificat octo tonorum, 4 vocum (Magdeburg: Wolfgang Kirchner, 1571), and Auperlesene teutsche Lieder mit 4 and 5 Stimmen (Nuremberg: Thomas Gerlach and Wolfgang Kirchner, 1575).26 Written at various intervals during this same period were Dressler's three theoretical works: Practica modorum explicatio (Jena: Donato Richzenhain, 1561), Praecepta musicw poiitieas (Staatsbibliothek zu Berlin, PreuBischer Kulturbesitz Mus ms Iautog (hear. G. Dressler, 1563/ 1:1“ -u L: _ :1Ai_A-A.A -

A1.

AAA 5A1. 1_A n:_-J LA A___.A_A-_

1304), tutu ms MquCw prucucw elemema m usum SCHUHZ Mugue0urgertls'th'

edita (Magdeburg: Wolfgang Kirchner, 1571).27 Just as biographical information can be obtained from several of the prefaces and dedications to these works, so these same documents throw

considerable light on Dressler's attitudes and on the social ties he was

attempting to create between the Lateinschule at Magdeburg and the wider community. In the preface to his Aliquot Psalmi latini et germanici, for example, Dressler reveals both his interest in music education and his sound humanist training by including a quotation from the celebrated Adagia of the Dutch scholar Desiderius Erasmus (1466-1536), a quotation that recurs in the preface to his Praecepta musicw poe"ticar. "But even if I allow that pri-

26These are the first editions only. Several of the publications underwent reprintings and revised editions, with some appearing as late as 1580 and 1585; full details can be

found in the list of worke in hnth Luthpr nnnm Dranlur H7_:n:;w11rwm

UNiVERSwTY 0: 21 mew

209 fingere, 70.7, 14; 124.10; 172.11; 176.8; fingi, 178. 3; 182.11

finiri, 156.11 iinis, 70.9; 112.6; 136.13; 138.12; 144.2; 166.4; 176.7; 186.2-4, 6, 8, IO-ll,

14, 19 ftectere, 74.2

iloridus, 74.10; 78.1, 3; 124.13 florere, 190.9 foelix, 68.3 tormare, 184.17; Ion'nan 128.9; 142.15; 146.2; 156/, 14, 21;

176.11; 186.11 fomatio 136.9; 140.1-2; 142.4; 144.4; 146.7 fonuita, 152.8 fortuna, 68.8 fractus, 74.10; 78.1, 3; 188.19; 190.7

160.1, M;

frequens, 64.11 frux, 64.13; 70.10 Nga, 70.6; 126.2 (bis); 162.20-21; 164.2, 4-6, 9; 166.1, 3; 168.3, 6 (bis); 170.1-3, 5, 8, Ur-ll, 13, 15; 172.1, 5, 8 (bis); 174.13--14, 19; 176.9, li12, 15; 182.8-9, 11; 184.4, 6, 8, 12-13, 15; 188.12; 190.4, 10, 12; 192.8-9 fugarc, 184.9 fundamentum, 104.1; 122.8-9; 154.23; 170.13, 15; 172.8; 184.6 Gallica, 80.1 geminata, 84.13 generalis, 178.10 genus. 60.18: 122.4: 126.11: 148.9: 190.2. 4. 6-8, 11

Germanicus, 186.8 grammatica, 154.12

grata, 178.18; gratior, 174.2 gratia, 68.9; 98.9; 154.19; 162.14, 17-18; 176.2; 180.5

gratitude, 68.6 gratiosus, 60.17

gravis, 84.7, 9, 12; 86.3, 9; 190.1; gravior, 120.15 gravitas, 84.11; 124.7; 142.5

Graeca, 88.2 gressus, 178.9 gubemaculum, 60.8

haberi, 64.13; 66.7; 74.7; 124.17; 126.1 harmonia, 64.4; 70.9, 15; 72.8; 74.8; 78.6; 90.1; 104.1; 108.29; 116.3, T-8;

120.3; 124.18-19; 126.9; 128.4; 136.11; 142.1; 152.12; 154.4, 14; 170.3; 174.2; 176.14; 178.2-3, 18; 182.11; 184.14; 186.10; 190.5, 13, 17

hebetior, 84.10 historia, 66.7 homo, 00.10

honestissimus, 60.11-12 honor, 86.9; 88.2

Chiouse) rm

UNWERSiTY OF WCH‘GAV

210 hora, 68.1, 4 hortari, 154. 17 hospitium, 120.6; 138.3; 184.3; 186.7

humanus, 60.13; 74.4; 84.6; 124.1 hypodorius, 156.13

iaecere, 184.6 iactura, 68.1

ictus, 174.9

idoneus, 64.13 Ignarus, 60.8 ignorare, 136.2

illustrari, 62.10 imbecillior, 116.16 imitare, 190.2; imitari, 116.19; 168.4; 184.9

imitatio, 168.6-7; 170.3 immerito, 88.6 immiscere, 172.19; immisceri, 88.5

immobilis, 92.7 impedire, 66.8 impelleri, 72.2 imperfecta, 88.7; 90.2. 5; 94.4; 116.2; 138.10; 146.3-4; 148.11; 174.11 incedere, 94.1; 178.10 inchoare, 174.4 incidere, 124.17; 138.16 incipere, 90.1; 92.3; 126.2, 6, 9-IO; 136.1-2; 166.5; 168.4; 174.9, 17; 188.16 inclinatio, 190.18

includi. 122.6: 126.9: 142.1 indicate, 72.1 indoctior, 66.7 induere, 96.3; 162.12 ineptus, 192.5

inesse, 154.10

inferior, 84.9; 86.1; 112.1; 138.17; 156.18; 158.4; 160.3, 9, 15; 162.5 infima, 120.15; 156.11 infinita, 102.1; 162.24

ingenium, 60.13 ingratus, 88.6; 178.6; 178.11; 180.3; ingratior, 182.7

ingredi, 84.9 initium, 68.5; 112.7; 128.4; 162.22; 168.6; 170.2, 4; 172.14; 174.5, 18 inscire, 108.6

inserere, 108.6; 156.6; 164.5, 7; 174.4; 186.13; 188.20; inseri, 106.8; 116.4;

138.11; 154.15; 156.1-2; 162.14, 23; 178.5

insistere, 104.2

inspirare, 186.6

msmul 142.4; 154.8 institutio, 142.17; 176.6-7 institutum, 68.3; 172.13

'sy ' 816

(mum; Wm“

CjNlVEFlSlTY OF MICHIGAN

211 instructus, 66.3; 164.7 instrumentum, 84.6 integer, 108.17; 116.8; 144.9; 154.2; 154.8; 166.2-3; 168.6; 170.2; 176.16

intelligere, 84.15; 96.1; 176.8; intellegi, 96.3; 170.3; 176.17; 182.10; 186.17

intempcstive, 178.7

interponi, 162.17; 178.10

intervallum, 68.16; 108.2, 4, 7-9; 124.1; 144.9; 152.12; 162.19; 170.16; ' 180.3; 184.8, 12; 188.21 intervenire, 162.21; 170.16; 184.10 interventus, 116.14

introspicere, 108.14 intruders, 174.19 invenire, 124.11; inveniri, 162.13 inventio, 70.6; 164.2; 170.5 invicem, 92.2-3, 7; 94.4; 112.1; 136.3; 142.4, 6; 144.7; 152.1; 168.2; 176.14;

188.18 invitare, 60.20

iracundum, 178.13 irregularis, 186.11, 13-14, 19 irregulariter, 186.16

Italica, 80.1

indicate, 62.11; 124.11; 126.10; 186.6; iudicari, 96.4

iudicium, 64.5; 96.2; 100.5; 110.4; 146.11; 148.2; 156.2; 174.2; 178.19;

180.4; 182.14; 186.8

iunior, 186.21

iure 124.15 :netn luau,

ca A .I -

Jesus Christus, 178.11

1a, 138.14; 156.7-9, 14, 22; 158.2-3; 160.8; 172.2, 7; 174.19 labor, 68.6; 170.8; 188.13 laesio, 98.1 lectus, 176.21; 178.13; 188.25

Latinas, 88.2

laus, 162.11; 186.3; 192.15, 18 lectio, 64.10, 13; 66.3

legi, 98.13; 106.2, 5 legitima, 120.6; 192.12 lex, 119.11 libenter, 68.8

liber, 174.5 liberalis, 60.12; 66.6-7 liberum 126.12

licentia, 122.9 limes, 120.20; 122.6

linea, 108.12; 126.5-7, 9; 188.10 litera, 84.13

Dkylizeci by ' 816

0rkfre) from

UNIVERSITY OF MICHIGAN

212 locus, 60.11; 84.12 (bis), 15; 88.4; 96.15; 106.9; 116.4, 17; 120.4, 20; 124.9;

136.4; 138.17; 142.4, 6-7; 152.2; 154.15, 20; 156.3, 18; 158.4; 160.9; 162.11; 174.14; 178.14, 17; 182.9; 186.14

locutio, 154.8 longa, 98.12

longinquiores, 138.20

lux, 136.2 magister, 188.15 magnus, 60

84.13; 174.7; 186.4; maior, 98.6, 10; maximus, 102. 6

maiestas, 124.7 manarc, 188.24 manere, 142.8

material, 176.20; 178.13 maxima (n.), 98.12 maxime, 178.6; 190.7

mediocris, 62.10; 66.11; 184.9 mediocritas, 66.2; 84.11 mediocriter, 126.11; 188.21; 192.10

medium (n.), 84.14; 138.11; 144.2; 176.5-6, 9, 12, 14; 182.8, Ur-ll medius, 60.11; 70.8; 84.7, 10, 14; 86.1, 3; 120.10; 156.1; 176.7, 10

membrum, 152.10-11; 176.13-14 memoris, 186.8 mensura, 74.3; 74.8 meta, 64.8; 184.18

mi (mj), 100.14; 108.10-ll, 20, 22; 142.12-13; 156.10, 18, 21-24; 158.2-3; 160.4, 8 minima OR 7

minor, 98.6; 170.7 minus, 154.22; 156.18, 24; 158.3; 160.3, ll, 15; 172.19; 178.5, 17

mirifice, 136.10 mints, 80.1; 124.17; 142.2; 176.1 missa, 78.7; 178.11

mixtus, 88.3; 120.3; 172.5, 8 mixtura, 86.3-4, 9; 96.9

modulari, 120.13

modus, 100.1; 112.2; 144.1; 152.5; 176.1; 184.17; 188.13, 21; 192.3-4 mullis 138.13; 140.2 (bis); 142.11; 144.4, 7; 150.1; 186.19 monere, 150.1; 154.13; 170.9; 188.4

monosyllabica, 178.12 monstrare, 64.7; 116.5; 136.9 monstrum, 60.15

mora, 174.1 moriri, 70.16 morosus, 176.22; 188.26

motus, 84.5, 8, 9; 94.1

musics (n.), 60.7, 16-11, 14, 20; 62.5; 64.1, 14; 66.6, 8; 68.12; 70.12-14, 16; 154.1, 12; 162.11; 164.6; 174.6; 188.3

1 r-U-r; l Co gle

/)s, :311 5; .1 c- 541-,

213 musicalis, 152.8, 11 musice, 66.5, 8

musicus (adj.), 60.13; 70.14; 164.7; 172.1 musicus (n.), 112.4; 116.19; 136.5; 156.2; 162.25 mutate, 136.3; 142.6; 144.8, 10; 152.2 mutuari, 120.5 muteta, 80.1; 112.6; 176.2

mutilan', 166.2; 170.1 natura, 96.3; 164.7; 188.25 naturalis, 190.16

naturaliter, 96.9

necessarius, 60.8; 62.9; 108.6, 28; 122S-10; 170.8; 190.19 necessitas, 162.19

neglegi, 188.7 negotium, 154.18 nequire, 68.9; 108.29

nimia, 98.12 niti, 104.2

nolle, 62.7; 66.8 nomen, 120.7; 124.12; 178.11 nominate, 138.10; 142.11

nona, 96.10, 12; 100.14; 142.17

notare, 148.9; 192.8; notari, 188.11

notula, 76.2, 3; 78.2, 6; 98.6, 11, 14; 126.13; 138.1-2, 4, 13; 142.11; 156.11; 162.14, 17 novem, 96.10 _n....-

A tft. 7n tk. Oh t. 1ftdA .uwm Au, ”n.4, lvu, v-vn, IlUVUk, Ch

nudus, 170.16; 174.8, 12, 16, 19; 190.5, 9

nullus, 86.8; 96.15; 98.1, 13; 108.12; 110.2; 142.4; 172.8 numerare, 90.3; 126.7; numerari, 108.27; 190.6 numeratio, 108.5

numerus, 68.8; 86.ur-11; 96.4; 108.9. 15, 28; 162.12

observers, 102.5; 106.9; 116.19; 122.10; 184.18; observari, 74.5; 124.14, 19;

182.6, 13; 190.16 obtinere, 84.11; 116.12; 130.9; 132.5, 9, 11, 14; 134.6; 146.9; 152.1 occupare, 84.13; 132.6; 136.4; 138.8; 142.6; 154.9; 178.14 occurrere, 178.9, 11

octava (n.), 86.8; 94.7; 96.2; 100.4-5, 9, 15; 108.11, 14, 20, 23; 110.4;

112.2; 1t6.9-1i, 14; 120.17; 122.6; 124.6; 128.6; 130.3, 9; 134.5;

138.16-17, 21; 142.1, 14; 144.8; 146.11; 148.2; 150.7; 164.11; 166.6; 178.19; 180.1, 4; 182.2 octavus, 156.12; 162.3; 176.21; 188.26 octo, 152.9, 11

offenders, 96.9 offensio, 106.1; 156.1 officium, 60.10, 19 oleum, 188.8

Cnwtrrcso bv Co; 'gle

(hlrculse) Wan

UNIVERSITY OF MICHIGAN

214 omitti, 72.5; 168.6 omnis, 60.7, 10, 12, 18 (bis); 68.2; 84.4; 86.10; 98.14; 120.4, 10; 124.18, 20;

126.3; 142.1, 6, 8; 146.7; 148.9; 156.11; 160.4; 162.23; 166.4; 174.9, 12; 184.12; 186.3, 17; 188.23; 190.1, 11; 192.12 oportere, 66.1; 106.9; 162. 21

optata, 184.18 optimus, v. bonus opus, 62.6; 70.16; 136.10; 174.4

opera, 122.10; 174.16; 186.8; 188.8 oratio, 152.9-l0; 154.1

ordinarius, 102.9

ordo, 6ihl0-li; 128.4; 154.4, 15; 174.13; 184.5, 16; 186.17 origo, 86.11; 176.15 oriri, 72.4; 74.6; 86.3; 162.15 omamentum, 60.13; 164.3 ornate, 136.10; 164.7

ostendere, 64.6; 122.1 otiosus, 192.7

pacisci 124.20 parire, 142.2; 162.16 par, 76.2

paragidma, 84.15 pars, 60.20; 62.3; 70.1, 8, 14; 72.8; 78.7; 96.11; 112.6-7; 120.2, 7, 11, 17; 136.11; 138.12 (bis); 152.10; 154.2; 156.1; 176.7-8, 10, 13, 16; 186.15

(Vs)

particula, 136.13 narprp .--.-, 1076- 1763 _".'"'-', Apamm, 62.11 pati, 190.12 parva, 162.10

passio, 178.13

paucus, 108.6; 116.5 pauper, 66.5; 68.7 pausa, 70.5; 162.8, 12-13, 21 (bis), 23; 178.1(Y-11 pausare, 166.5 peccare, 162.20

peculiaris, 124.5 pendere, 72.4 penetrate, 84.8

penultima, 138.2-4, 13, 18; 142.11, 16; 146.9 (bis); 148.1, 7, 9; 152.1 peragere, 182.14

percipere, 122.7; percipi, 98.15; 162.22; 170.8 pertrurrere, 186.17-18

perdere, 188.8 peregrinus, 154.23; 156.2-3, 10; 160.4; 172.19; 178.5-6

perfecta, 88.7-8; 90.2, S; 92.2, 7; 94.1, 4; 136.13-14; 138.7-8, 12, 15; 154.9;

184.3

7 _ "

Co 816

ph, .Ea‘skTw/{vz ',/r, tam,

215 perfecte, 120.3 perfectio, 154.10 pcrgere, 192.3 periculum, 106.1; 178.5; 186.12 periodus, 152.10; 154.1, 11

peritus, 192.10 perspicue, 126.12 persuaded, 152.8 petere 62.6; 122.8 PCIHIIUIC,

IJOJ'

pervenire, 188.14; perveniri, 184.18

pingui, 84.13 pius, 68.2

placere, 68.11

plagalis, 156.12 plenius, 62.9

plenus, 120.3; 174.8-9; 190.10; 192.3 poema, 164.5

poesis, 174.7

poeta 126.5; 174.3

poética, 62.1, 3; 64.2, 15; 68.12; 70.12-l3, 16; 154.1; 164.6; 188.3, 24 poni, 76.3; 104.1; 126.10; 130.2 populus, 174.5 positus, 154.5 posse, 60.9; 64.8, 12-14; 66.2, 4; 70.10; 74.4; 92.3; 94.1; 96.3; 96.11; 98.13; 108.7; 112.1; 116.17; 120.20; 124.14; 126.8; 132.9; 136.5; 140.1-2; 144.4, 8; 146.6; 148.11; 152.2, 5; 154.8, 19, 22; 162.15, 21; 170.3;

172.8; 182.11; 186.12, 20; 190.3 possidere, 84.14; 122.7; 128.12; 132.13; 134.5; 138.19; 146.10

postulate, 132.4; 162.19; 188.16 potens, 174.5-6

potius, 66.11 practica, 60.20; 62.5; 64.14-15; 70.15; 162.13

prahere, 84.6; 106.10; 116.4; 186.21 preceptum, 62.8; 64.12, 15 (bis); 66.1; 68.12; 72.4; 188.3; 190.18, 20; 192.10 pracipuus, 126.2; 154.24, 26; 172.17; 188.17; 190.3

pmferre (pra: [se] ferre), 80.2; 124.7; 126.1; 178.9; 184.10; pratferri, 62.4 preeficere, 60.10 pmlectio, 62.3; 68.4, 10

pmlegere, 62.3 prteparare, 184.15

prlescribere, 192.1 prastare, 192.5; prastari, 64.8 ---...'=

" IA puswuu, l100.1»

praxis, 170.7; 188.14, 16; 190.19 precium, 60.7; 68.6; 136.10

[hturcyrrr, l.r'r, Co, sle

m v-ri" Tr/r-'') C: em,

216 premiere, 136.6 primaria, 126.2

primus, 68.3, 5; 138.12; 156.4, 6-7, 11 (bis); 172.15; 174.3-5; 176.19, 21; 186.18; prior 106.4, 8; 156.14; 186.14; 188.25; 190.4; 192.18 princeps, 66.7

principalis, 154.22-25; 156.8-9, 16, 18, 23-24; 158.3-4; 160.3-4, 8, 11, 1415; 162.5; 172.18; 178.5 principium, 190.1 prior, v. primus pnvaum, 04w privatus, 68.6 (bis)

probabilis, 116.4 probatus, 136.5; 162.25; 186.13; 188.9; 190.10, 17 probate, 192.4; probari, 120.6 procedere, 168.3; 174.13

processus, 178.18 procrearc, 84.10

prodere, 192.4 prodesse, 62.11-64.1;96.1; 108.6; 122.1; 128.4; 182.13

producere, 178.18 profectior, 62.1 proferre, 78.7; 84.8; 116.7; 178.18; proferri, 192.8

profunditas, 124.1 profundior, 178.13 progredi, 70.10; 188.2, 4 prohibitus, 108.2, 8; 162.18-19 promeridiana, 68.4

promovere, 60.18; 66.9

pronuntiari (pronunciarj), 124.2; 162.15 pronuntiatio, 72.3 proponi, 62.1, 8

proponio, 74.5 proportionabilis, 74.2, 6 propositio, 174.3-4 proprietas, 64.9; 188.25 proprius, 120.4; 156.2; 188.14

prorumpere, 174.i2-13

proverbium, 172.13; 176.6; 186.3-4

proxime, 62.5 proximus, 68.5 puer, 66.2; 66.4; 84.14; 98.15; 120.20; 136.2; 172.19; 188.16 puerilis, 108.5, ll; 120.13

pulchre, 172.12 pulchrior, 188.11 -_--

Il‘!

PIIIBI'C, 00. o

quadrare, 172.13 quadrata 126.13

Chwtceo by Cor 'gle

Orwznm‘ from

UNIVERSITY OF MICHIGAN

217 quadruplex, 132.2; 170.12

qualitas, 84.5 quantitas, 76.2; 78.6

quatuor, 64.2; 84.14; 102.8; 108.29; 120.3 (bis), 6-7; 166.5; 190.3, 5

quarta, 68.17; 96.10, 13; 100.4; 108.10, 13, 16, 26-27; 110.2; 112.1; 120.18; 128.3, 6; 130.4, 6, 10; 132.3, 5, 12-13; 134.1; 138.18; 142.16; 146.9-10; 152.1; 156.12, 16; 160.2, 7, 13; 162B-4; 164.11; 182.1 quarta decima, 96.10, 14

quanus, 156.12; 158.1; 172.2; 176.22; 178.8; 188.26; 190.11 -..:....

quln,

I'll , a [30.1)

quinque, 98.13; 108.21; 126.6, ll; 162.13; 176.3

quinta, 86.7-8; 94.9; 96.5; 108.10, 14, 18-20; 110.3; 122.6 (bis); 128.6, 11; 132.2, 5, 12-13; 134.1, 5; 138.17-18; 142.15; 146.8; 148.6--7; 150.8;

156.22; 160.2, 7, 13; 164.11; 178.19; 180.1, 4; 182.4 quinta decima, 86.8; 94.7; 180.1

quintus, 156.11; 160.1; 176.21; 178.15; 188.25 quire, 124.2 rarius, 186.15 rarus, 84.12

ratio, 64.4, 6; 70.10; 72.9; 74.2, 7; 98.1, 3-4, 13; 108.7; 124.4, 18,20; 128.5;

138.15; 142.6; 170.10 (bis); 176.12, 15; 178.2; 182.8; 184.15; 188.3-4; 192.1

re, 138.14; 156.7-9, 14 (ter), 17 (bis), 24; 158.3; 160.13; 162.3, 5 recenserc, 128.3; recenseri, 86.9-10; 186.20; 190.3

receptaculum, 186.5 recipere, 68.8; 116.14, 18; 140.1-2; 144.4; 148.9; 150.2; 156.13, 20, 23;

158.1; 160.1, 6-8, 12, 14; rccipi, 96.4; 108.28; 116.18 recolligi, 184.4 recte, 90.2; 162.17; 184.18; 186.8; rectius, 188.4

rectus, 154.15; 162.10 recussare, 66.8

reddere, 88.3; 154.4 redire, 64.8; 184.5; 192.2, 13

reditus, 192.9 reductio, 98.6

referre, 68.9; 98.8; 116.3; 122.2; 164.8; 168.6; 170.2; referri, 78.7; 100.5;

110.4; 190.4, 8, 11

regium, 66.6 regula, 92.1; 98.14; 100.5; 102.2, 4, 9; 110.1, 4; 1l6.5-6; 122.2; 124.3; 128.7; 136.1; 144.6; 162.20; 170.6-7; 174.16; 176.17, 19; 178.1, 4, 8,

15; 182.9; 188.5, 7, 10, 14, 17; 190.13

regularis, 186.10, 12 regulariter, 156.7, 15, 23; 160.14; 162.4; 186.18 relinquere, 70.16; relinqui, 66.10-11 .. uv.u., Aft tn. uw..:, (A a. uu.u, KKK a. 'In IA. GA a. 09 to. Ink c. II‘ Tr, I'm A. u” = wmluua, p, m.--v, 2v..:, 70.15, auu..l, 110.1 I, ”van, 1413,

7; 126.3; 128.5; 136.4; 146.4; 156.10; 160.4; 184.6, 16; 192.5-8, 13

_ GO sle

w \za‘éirjw’xOQij‘ em

218 repercussio, 124.20; 154.25-26; 156.8, 14-15, 22; 160.14; 162.4; 170.15;

172.4, 6-7, 18 reperiri, 102.1-2; 112.6; 136.13

repetere, 156.22; 158.2; 160.2, 14; 162.1, 4; 174.14; repeti, 182.10 repetitio, 164.10; 184.8 repraesentare, 90.2; 134.4; repraesentari, 124.20

reprehendi, 126.8 requiescere, 184.3 requirere, 60.19; 66.3; 138.2; requiri 138.1; 188.3 res, 102.1; 122.9; 126.3, 6; 154.18; 188.5

resolvi, 188.10 respicere, 124.13

respirare, 162.14

responders, 154.6-7 restare, 122.7; 136.6; 164.5

restitui, 192.ur-11 restitutio, 192.11 retinere, 144.8-9; 148.3 revera, 86.3, 7

rotunda 126.14 sape, 164.4; sarpius, 120.18; sepissime, 120.17 scala (schala), 84.12; 126.8

schola, 60.9; 62.1

scholasticus, 60.9-10

scire, 68.9; 124.4; 148.11; 154.3; 176.14; 188.24; sciri, 64.13

scriptum, 72.5; 154.18 :pnnn:

Ad '7

£2553311

secunda (n.), 96.10, 12; 100.1

secundus (adj.), ll2.6-7; 138.12; 156.4; 156.12-13; 176.21-22;

186.15; 186.18; 188.26; 190.6 secundaria, 94.7; 96.2, 12

sedes, 120.4-5; 148.3 semibrevis, 98.7; 148.10; 150.2

semidiapason, 108.3, IO-ll semidiapente, 108.3, 10, 19, 22; 140.3; 144.5 semiditonus, 156.15

semifuga, 166.2; 168.5 semiminima, 106.1-3, 8 semiperfecta, 138.7, 10; 146.1-3; 148.11-150.1 semitonium, 108.15-19, 21; 142.12; 146.7

sententia, 124.14 sentire, 192.13

septem 136.1 septima, 96.10, 14; 100.9; 138.17; 142.14; 146.6; 150.7

septima decima, 86.8; 94.8 septimus, 156.11; 160.12-13; 176.22; 188.26-27

C Go 316

sp,' , vcr/a:

178.2;

219 septimanus, 68.4 sequi, 62.4; 92.1, 3, 8; 94.1, 4; 100.2; 112.1; 146.10; 150.1, 6; 162.7; 184.7, 16, 19; 186.11 servare, 188.24

sexta, 68.17; 86.7-8; 88.3; 94.10; 100.9; 116.1-3, 5, 7, 9 (bis), 11, 14, 16-18; 124.6, 9; 128.3, 6; 130.2, 4, 10; 132.1, 5, 12-14; 134.3, 6; 138.16; 142.14, 16; 156.22; 168.2 sexta decima, 96.10, 12

sextus, 156.12; 160.6-7; 172.7; 176.22; 188.26 Signlhcm, 64.14; 154.19; 176.1

significatio, 162.24 signum, 78.6; 162.12 silentium, 162.11, 13, 19-20

silere, 162.23; 192.5 similior, 60.16

simplex, 74.10; 76.1, 4; 94.7; 96.2-3, 12; 124.14; 176.9-10, 14; 182.10; 184.13; 188.17 simplicitas, 154.19 simul, 174.12 singulus, 68.4; 76.2; 90.3; 106.1; 122.1, 7; 124.1, 4; 126.1; 138.1, 7-8;

148,11; 154.8-9, 20; 168.2; 174.16; 184.5, 8; 186.6, 17; 188.25 sinere, 66.4 sol, 138.14; 156.4, 7, 9, 14, 24; 158.4; 160.2-3, 7, 9, 13-15; 162.1, 4; 170.3;

172.3 solere, 62.1; 116.12; 144.2; 178.11; 188.27

sonar: 134.3; 170.3; 182.1

snnus. 68.14: 7t2-d: Mn-s: 863. 9, 12: 88.1. 3: 94.11: 96.9: 178.18 somsauo, 72.1 (bis) spacium, 108.12 species, 64.1; 72.9; 92.2, 7; 112.4; 154.25; 170.13; 172.4, 6, 18

spectare, 154.5

spiritus, 162.14 stabilis, 88.4; 96.15; 116.17; 124.9 static, 144.8 statim, 174.5, 17, 19 statuere, 174.2

stolidus, 66.4 strepitus, 192.5 studiosus, 60.10; 66.10; 72.6; 190.13 studium, 60.11, 12; 66.5, 9; 68.2; 70.10; 188.2, 4 suavitas, 102.6; 126.1; 142.2; 162.23; 190.11-12

suavis, 116.7, 16-17; 178.18; 190.17; suavior, 178.17; 182.6; 188.12, 20; suavissima, H6.3-4; 124.8

suaviter, 86.3; 98.2 sutnJeere, 015.11; 84.1); 183.0; SUDIJCI, 150.10; 134.5; U/6.13

subita, 72.2 submissa, 192.9, 11

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220 subtile, 164.6

subpeditare, 162.25 succisivus, 68.1

sufficere, 154.3, 13; 188.13 sumi, 170.13, 15; 172.6, 8, 17 summa, 68.11

sumptus, 68.8 superior, 84.7-8, 13; 110.4; 156.9, 18; 160.3, 9, 15; 162.5-6; suprema, 120.13, 17

supputare, 90.3 supputatio, 108.11-12 susurrus, 192.12

symphonista, 190.2 syncopata, 100.2, 6, 9-10, 14; 138.17; 142.17; 146.6; 150.7

syncopatio, 68.15; 98.4-5, ll, 14; 100.1, I5-102.1, 5; 104.5; 138.4, 16; 142.14-15; 164.3-4; 188.11 tabula, 90.2; 126.10

tacere, 162.10 tactus, 98.7, 10; 104.1, 5; 106.1-3

tardior, 84.9, 10; 178.9; 184.14 tarditas, 98.12-13 temeraria, 152.8 temere, 186.13

tempus, 60.7-8, 19; 62.3-4; 68.1; 74.2-3, 6-7 (bis), 8; 148.10; 162.10; 168.2-3; 174.9; 178.6; 190.9 tendere, 172.2; 192.9

tenere. 120.10-11: 124.13

tenor, 86.1; 100.10; 116.7-8, 12; 120.7, 9, 18-19; 122.5, 7; 124.6, II-I2, 15, 17; 126.13; 128.6, 8, 12; 130.i-4, 6-7, 9-10; 132.1, 5-6, 9, 11-13; 134.1, 3-4, 6; 136.3-4; 138.2, 13, 16-18; 142.6-7, 11, 14, 16; 144.7; 146.5 (bis), 8-H; 148.1, 6-7, 10; 150.7-8; 152.1 (bis); 166.5; 186.11 terminus, 142.5; 186.12, 15

tertia, 86.7-8; 88.3; 94.8; 96.5; 100.2, 4; 110.3; 112.1; 128.6, 1t1-12; 130.12, 7, 10; 132.3-5, il-M; 134.1, 3, 5-6; 138.19; 142.15-16; 146.8-9; 148.1-2, 7; 150.8; 160.7; 178.18; 180.1, 4; 182.1 tertia decima, 86.8; 88.4; 94.10; 116.2-3, 17-18; 124.9

tertius, 156.11, 2ty-21; 176.22; 178.4; 188.27; 190.8 testari, 66.7; 186.4 textus, 162.16 thema, 124.14 theorica, 62.1; 70.15

tonus, 108.15-18, 21; 122.8; 124.19; 138.14; 146.7; 152.12; 154.16, 21-22, 24; 156.3, 5-7, 13, 16, 20-21; 158.1; 160.1, 6-7, 10, 12-13; 162.3; 170.16; 172.1-2, 7, 17; 174.1-2, 7; 176.2, 15, 20-22; 186.3, 17-18;

156.15, db-df totus, 74.7; 126.9; 136.11; 176.14; 188.24

Chwtaeo by Cor 'gle

Orky'ril hom

UNIVERSITY OF MICHIGAN

221 tradere, 72.6; 174.15; 176.15; 182.9; tradi, 68.10; 102.5; 108.4; 178.16;

188.3, 7 transferri, 100.15; 182.9

transitus, 104.2; 116.18 transponi, 156.16-17; 186.18 transpositio, 122.9 tres, 74.3; 88.1; 96.10; 98.12; 108.8, 17-18; 112.3; 138.2, 4; 164.3, 10 triangularis 126.13 tribuere, 76 . tribui, 60.12; 186.14 mplex, 74.10; 254.7; 86.11; 94.5; 1M.2l-22; 106.2

triplicate, 94.7; 96.2, 12

tripliciter, 146.6 tristis, 176.21; 178.14; 188.26 tritonus, 108.3, 9, 18, 21 turban, 178.6; 192.5 tyro, 64.15; 70.10; 90.1; 102.5; 106.9; 108.4; 116.5; 122.6; 124.4; 128.4; 136.1, 5; 148.11; 154.19; 176.14; 186.12; 188.8; 190.1 ultimus, 138.3, 5, I3, 18; 142.11, 16; 146.8, 10; 148.1, 7; 152.1; 186.15 ullus, 108.17 undecima, 96.10, 13; 100.5; 110.4; 182.2

undevicesima, 86.8; 94.9 uniformiter, 86.3

unitas, 86.10 unisonus, 86.8 (bis); 94.7; 100.2, 4; 128.6, 8; 138.18; 164.10-H; 168.2; 182.1, 4 unus, 72.9 (bis); 162.14; 166.4; 174.9; 184.7; 192.18 usitatior. 72.3 usitatus, 72.6; 120.7; 124.20; 172.19 usurpare, 148.2; usurpari, 74.3-4; 116.3; 120.6-7; 178.7 usus, 66.1; 68.17; 70.4; 72.3; 106.9; 108.26; 116.1, 5; 128.3; 170.6; 178.7;

182.9; 188.14 ut, 138.14; 160.2 (bis), 6-7, 13-15; 162.1, 3-5; 172.6 utilis, 60.11, 17; 62.9; 108.28; 190.18 utilitas, 64.1; 66.3 mi, 124.5; 126.5, 7; 156.2 vagari, 120.4 valor, 76.2 varietas, 124.17 velle, 62.8; 64.10; 66.9; 68.2; 126.11-i2; 154.10, 14; 174.1; 182.13 velocius, 84.8-9

vendieare, 130.4; 142.7, 17; 148.7

verbum, 154.5, 7, 9; 162.17; 176.15; 178.2-3, 9; 190.13; 192.8-9 versari, 84.4

versus, 164.5; 174.3 venere, 15a.” verus, 68.16; 72.9; 108.7-8, 13-14, 16, 18, 20 vetus (adj.), 176.6; 186.3

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222 vetercs (n.), 124.11, 14 via, 64.8; 192.1, 12

vicesima, 86.8; 88.4; 94.10 vicesima prima, 96.10, 14

victrix, 174.6

vicina, 142.2; 164.4; viciniores, 142.1, 3 videre, 60.13; 126.9; 138.19; 144.2; 174.3; videri, 108.6, 13; 116.3; 124.8,

13; 176.7 126.1; 136.10; 172.14; 184.9; 186.3; 190.12 vir, 60.14; 62.10; 174.5 vires, 184.4

virgula, 152.10; 154.11 virtus, 176.6 viscera, 174.6

vita, 60.18; 72.4; 162.10 vitare 126.12; 162.19; vitari, 182.5-6

vocabulum, 154.7; 162.24 vocalis, 184.10 vocare, 138.20; 154.26; vocari, 74.7 voces musicales, 102.9; 146.7 vox, 72.2; 74.4; 84.3-7, 11, 14; 86.1, 3; 100.2, 4, 6, 9; 108.29; 112.3;

116.11-12, 14; 120.3-4, 6, 10, 13 (bis), 15 (bis), 18, 20; 122.1, 4; 124.1,

4 (bis), 7, 10, 15-16, 18, 20; 126.2, 12; 128.5; 136.3-4, 13; 138.1-2, 8; 140.1, 4, 6-8; 146.4; 148.10; 154.9; 162.23; 164.10; 166.4; 168.2; 174.9, Ir-12, 16; 176.3; 182.4; 184.2, 5-8, 10, 15; 186.5-6; 192.3, 5-7, 9, 11, 13 vulgaris, 64.5

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UNIVERSITY OF MICHIGAN

INDEX NOMINUM ET RERUM Aaron

Pietro

191n

Agricola, Martin, 7, 9, 13, 77n. altus, 25, 86-87, 120-35, 138-39, 142--53, 166-67 ambitus, 84-85, 120-25

Anhalt, v. Zerbst Apfel, Ernst, 2

appendix, 27, 33, 36, 190-93 Aristides Quintilianus, 63n. Aristotle, l4, 20-21 ars canendi, 19

bassus, 24-25, 86-87, 100-l01, 116-17, 120-39, 142-47, 150-51, 166-67 Beebe, Ellen s., 2

Belgic, v. Franco-Flemish Blackburn, Bonnie J., 14, 99n. Blankenburg, Walter, 3n., 6, 7n.

body, 120-21, 126-27, 154-55, 176-77 Boethius, 13-14, 23, 63n., 87n., 89n., 9ln.

brevis, 98-99, 148-49, 150-51 Buelow, George J., I Burmeister, Joachim, 16, 157n. Butt, John, 17n. cadence, 26-29, 32-35, 64-65, 70-71, 100-l03, Il6-17, 120-21, 124-25,

136-149, 152-63, 168-69, 172-79, 184-89 canon, 31, 168-69

Cassiodorus, 63n. Castiglione, Baldassare, 63m Censorinus, 63n. Centaurs, 18, 60-61

Chadwick, Owen, 4n. Chevalier, Simonne, 2, 59, 71n.

Cicero, 20, 153n.

Clemens non Papa, 6, 7n., 26, 30, 33, 35, 46, 49-50, 52, 102-3, 112-13, 159n., 161n., 169n., l7ln., 173n., 175n., 176-77, 182-83, 185m, 18891 Cochlaus, Johannes, 91n., 127n. Coclico, Adrian Petit, 67m, 127n,

JJGGitiG, 23-24, 31-374 -

concentus, 28, 84-85, 88-89, 112-13, 116-17, 123n., 152--55

m rlrlL're- _ Ir1, Co, sle

u, _

;; m 4! , 4‘ 4;

223

224 consonance, 22-24, 32, 35, 46, 64-65, 68--71, 84-87, 90-97, 104-5, 10817, 120-21, 124-29, 138-39, 142-43, 146-47, 152-55, 174-79, 18485, 188-89 counterpoint, 22, 24--25, 32, 35, 68-69, 72-79, 96-97, 102-3, 108-11, 12425, 162-63, 188-91 contratenor, 120-21

Crecquillon, Thomas, 33, 35, 46, 48, 50, 52, 113n., 161n., 172-73, 182-83,

190-91 Crook, David, 127n. munm'lnd Gun"- .. funn-

unwnua Ausuv, v. lu5u»

Curtius, Ernst Robert, 14n.

Cyclops, 18, 60-61 Dean, Jeffrey, 12n.

diapason, 86-87, 10il-101, 156-57 diapente, 31-32, 88-89, 108-S, 154-63, 170-73 diatessaron, 31-B2, 108-9, 154-65, 170-73 discantus, 24-25, 86-87, 106-101, 116-17, 120-38, 142-53, 166-69 disdiapason, 86-89, 138-39, 142-43, 186-81 dissonance, 22, 68-69, 96-105, 108-11 Dressler, Gallus, life and character, 3-12; Aliquot Psalmi Iatim' et germanici, 4, 5 et 6 vocum, 8, 185m; Amen, amen dico vobis, 25, 47, 50; Auperlesene teutsche Lieder mit 4 and 5 Stimmen, 8; Cantata Dominum canlicum novum, 48, 184-85; Das schiine Gebet, Herr Jesu Christ ... 4 vocum, 8;

Epitaphium piisimw et honestimisse matrome Magdalena: conjugis ... Christaphori Petzelii, 8, 10n.; Her wie lange, 48, 159n.; In te proiectus sum, 48, 184-85; Magnificat octo tonorum 4 vocum, 4, 8; Musica, practice

elements in usum scholar Magdeburgensis edita, 8, 11, 187n.; Practica modorum explicatia, 2, 8-9, 123n., 155n., 157n., 159n.; Praecepta musictz poirWeue, composition, sources, form and content, 12-35; manuscript and scribes, 36-46, 49-50; musical examples, 46-51; XC cantiones, 4 et plurimum vacum, 7, 10; XVI Geseng mit vier und mehr Stimmen, 8; XVII

cantiones sacra: qvatvor er qvinqve vocum, 8-9, 17, 21; Siehe wie fein und lieblich ists, 9-10, 48, 177; XIX cantianes 4,5 vacum, T-8; Ut rosa swpe peril, 10; Zehen deudscher Psalmen in vier und mehr Stimmen gebracht,

8-9, 159n. ending (hnis), 26, 34, 70-71, 112-13, 136-39, 144-45, 166-67, 176-77, 186-87 Engelke, Bernhard, 1, 3, 20n., 36-37, 53-59 epidiapason, 166-69 Erasmus, Desiderius, 8, 22, 65m, 69n. exercitium, v. ars canendi

exordium, 26, 31-32, h1-71, 172-77, 184-85

Faber, Heinrich, 13-15, 22--23, 26-27, 47, 65n., 71n., 73n., 75n., 85m, 87n., 89n., 91n., 95n., 97m, 111n., 121n., 127n., 129m, 137n., 139n., 163n. Fininn Mnnilin A2r, I wnw, unmanw, mm.

Finck, Hermann, 7n., 127n.

four elements, 120-21

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014 "7“

UMVERS‘TY OF MCMGAN

225 France-Flemish, 5, 7

fugue, 24, 26, 30, 32-35, 70-71, 126-27, 162-77, 182-85, 188-89; semifugue, 30-31, 166M9; curtailed fugue, 31, 166-4i7, Ihy-71

Gaffisrius, Franchinus, 12, 15, 23, 63n., 75., 87n., 9ln., 97n., 105n.

Galliculus, Johannes, 13-15, 22-23, 27, 75n., 87n., 9ln., 95n., 99n., 105n.,

l29n., 137n., 139m, l63n.

Gaul (Gauls, Gallic), 5-6

Glarean, Heinrich, l6

Qombcyt, ljicolastn, 35: 47, 112-l3, 173n., 183-83, 19tr-91 Gottwald, Clytus, 3n., 6, 7n. Greek and Latin Music Theory, Si

Guido d'Arezzo, 187n. Guilclmus, Monachus, 99n.

Hear, James, l69n. Handel, George Frideric, l7

harmony, 32-33, 64-65, 70-75, 78-91, 104-5, 108-9, 116-17, 120-21, 123n., 124-29, 142-43, 152-55, Ih1-71, 174-79, 182-87, 190-91 Herbst, Johann Andreas, 16 Homer, 6ln. hompohony, 33-34, 175-75

Horace, 22, 171-72, l77n. Humanism, 8, 33 imitation, 34

improvisation (sortisatio), 71-73

intervals, 68-69, 108-9, 124-25, 144-45, 152-53, 162-63, 170-71, 186-81, 184-85, 188-89; nm'mn 2547 od-OS mn_|m 19R-9t2 112-10 164.5; last_m, IR9, 83 second, 96-97, "o-lol third, 24, 86-89, 94-97, 10ty-101, 110-13, 128-35, 138-39, 142-43, 146-51, 160-61, 178-83 fourth, 22, 68-69, 96-97, 100-101, 108-13, 12il-21, 128-35, 138-39, 142-A7, 152--53, 156-57, 160-65, 182-83 fifth, 24, 86-87, 94-97, 108-11, 122-23, 128-29, 132-35, 138-39, 14243, 146-51, 156-57, 160-An, 164-65, 178-83 sixth, 22, M, 68-68, 86-89, 94-95, 100-101, 116-17, 124-25, 128-35, 138-39, 142-a13, 156-57, 168-69 seventh, 96-97, 100-101, 138--39, 142-43, 146-47, 150-51 octave, 86-87, 94-97, 100-101, 108-13; 1l6-17, 120-31, 134-35, 13839, 142-51, 164-67, 178-83 ninth, 96-97, 100-101, 142-43 tenth, 68-69, 88-89, 94-95, 106-101, 128-29, 132-35, 146-49, 178-83 eleventh, 96-97, 10tr-I01, 110-l1, 182-3 twelth, 68-69, 86-87, 94-95, 10t1-101, 132-35, 146-47, 178-81

thirteenth, 86-89, 94-95, 116-l7', 124-25 fourteenth, 96-97

fifteenth, 86-87, 94-95, 180-81

Go gle

226 sixteenth, 96-97 seventeenth, 86-87, 94-95 trightrrenth, 96-97 nineteenth, 86-87, 94-95

twentieth, 86-89, 94-95 twenty-first, 96-97

see also diatessaron, diapente, diapason, disdiapason, epidiapason, tritone

Isaac, 15, 35, 47, 190-91 Isidore of Seville, 63n. Jena, 4, IO-ll

Josquin des Prez, 15, 47, 190-91 Know, Dilwyn, 22n.

Lasso, Orlando di, 16, 26, 35, 47-48, 52, 156-57, 171n., 175n., 189--91 Lateinschulen, 7-8, 12, 16-18, 22, 46 laudes musicae, 17-18

Leaver, Robin A., 11n., 159n. Leipzig, 13 license (Iicentia), 122-23 Lippius, Johannes, 16

Listenius, Nicolaus, 14, 63n., 67n., 71n. longa, 98-99

Lucan, 22, 32, 174-75 Lucretius, 13 Luther, Martin, 7, li, 18, 22, 48, 159n., 161n.

Luther, Wilhelm Martin, 1, 3, 5n., 6-7, 10n., 11n., 36 Macrobius, 63n.

".nsuwuw, ‘l_0 .7,, rr-ra “7.4, I'T 'r, TU ._, 1K2., NJ... Martianus Capella, 63n. Mandnkurn

Mass, 33, 78-79, 163m, 178-79 maxima, 98-99 Melancthon, Philipp, 4, 10, 18

middle section (medium), 26, 32, 84-85, 138-39, 144-45, 176-77, 182--83 minima, 98-99 mode, 28, 31--32, 34-35, 188-89 motet, 22, 31, 80-81, 112-13, 176-77 musica charalis, 76-77,

musica paé'tica, 30, 35, 62-65, 68-71, 154-55, 164-65, 188-89 Nebra, Thuringia, 3-4 Netherlands, 4, 6-7 Niem6ller, Klaus Wolfgang, 12n., 18-19, 67m, 69n.

Nucius, Johannes, 16 oratory, 30, 32

octave, v. intervals

Omithoparcus, Andreas, 27, 137n. Ovid, 61n.

Owens, Jessie Ann, I, 2t-25, 67n., 12ln., 127n., 129n.

part-book format, 52

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227 Parthenope, 5-6 Passion, 33, 178-79

performance praetiee, 27, 36, 192-93 Pezel, Christoph, 8, 10 Philomathes, Vencelaus, 12-13, 63n., 73n., 85n., Win., 165n. Philippists, 10-11 plainsong (plainchant), I3, 25, 46 Plato, 5n. Plutarch, 63n., 69n.

poeuc musk, v. musxca poenca

poetry, 32, 174-75

polyphonisit, 35, 196-91 Powers, Harold S., l-2

proverbs, 172-73, 176-77, 186-87 pupils, T-IO, 17-19, 25-26, 28, 32-36, 38-41, 64-65, 70-71, 90-91, 102-3, 106-9, 116-17, 122- 25, 128-29, 136-37, 148-49, 154-55, 176-77, 186-91 quasi-score (pseudo-sore), 25, 52 repercussion, 31-32, 124-25, 154-57, 160-63, Ihy-73

rests, 26, 30, 70-71, 162-63, 178-79 rhetoric, 28, 30-32 Roth, Georg, 11 Ronsard, Pierre de, 63n., l91n.

Rum, Manfred, 9n., 16n., l77n. Ruhnke, Martin, 14 Sandrin, Pierre, 15, 47

Saxony. 4. ll scald generalis, 23, 84-85 scaIa decemlinealis, 24--26, l27n. Scéve, Maurice, 63n. semibrevis, 98-99, 148-51, 166-67 scmidiapason, 22, 108-9 semidiapente, 22, 108-9, 140-41, 144-45

semifisgue, v. fugue

semiminima, totr-7 Senfl, Ludwig, 35, 190-91 solmization syllables, 100-103, 108-9, 138-39, 142-43, 146-47, 156-63,

170--75 song, 34, 64-65, 78-81, 102-3, 112-13, 116-17, 123n., 126-27, 156-59, 164-73, 176- 79, 182-91 Staatsbibliothek zu Berlin, 8, IS, 36, 59 Stigel, Johann, 4

Strasbourg, 13 Strigel, Victorin, 4

smaems, v. pupns Stumus Schmalchadensis, Master Casparus, 4-6

speech (parts of), 28

Co gle

228 sounds, 23, 84-89 syncopation, 22, 30, 35, 68-69, 98-105, 138-39, 142-43, 146-47, 150-51 tactus, 98-99, 104-7

tenor, 24-25, 34, 46, 86-87, 100-101, 116-17, 120-39, 142-53, 166-67, 186-87 Tertullian, l77n. tessitura, 33

text, 30, 33, 162-63 Themistocles, 18, 66-67 Theocritus, 6ln.

Thuringia, v. Nebra Tinctoris, Johannes, 27, tBn., 137n.

tone, 28, 31-35, 46, 108-9, 122-25, 138-39, 146-47, 152-63, 170-77, 186-89 Toxita, Michael, 13

Trachier, Olivier, 2--3, 6-7, 8n., 9, 10n., 15, 20n., 24, 3ln., 37, 47n., 53-58, 71n., 73n., 77n., 91n., 99n., lO7n., 123n., l35n., l37n., l43n., 155m, 159n., 161n., 179n., 185m, 187n., l89n. tritone, 22, 108-9 Varm. 63n. Vienna, 13

Virgil, 13, 22, 32, 61n., 174-75 Walter, Johann, 47-48, 52, 159n., 161n.

Weber, Edith, 69n. Wittenberg, IO-ll, 13-14 Zarlino, Gioseffe, 15-16, 23-24, 29, 63m, 99m, 107n., 111m, 125n., l65n., l69n,

zerisi," Knhalt, I 1

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Studies in the History of Music Theory and Literature Volume I

Music and Ideas in the Sixteenth and Seventeenth Cenruries By Claude V. Palisca Volume 2

John Dygon's Proportiones practicabiles secundum GajNriurn Edited and translated by Theodor Dumitrescu Volume 3 Gallus Dressler, Prtzcepta musica: poiiticas

Edited and translated by Robert Forgécs

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