pt. 1. The 1380s to the 1420s. Included: Brassart ; Ciconia ; B. Cordier ; Du Fay ; Dunstable ; Grenon ; Power ; Solage ; Zacharias De Teramo -- 1. The "English sound" ; Anglo-Continental contacts ; Other English features ; A Dunstable work in detail ; The carol -- 2. Intermedio : 1414-1418 -- 3. The Low Countries. The French Ars nova ; The new Central Tradition ; Musical training ; Johannes Ciconia ; The significance of the Low Countries -- 4. Editing a chanson : the notation --

pt. 2. The 1420s to the 1460s. Included: Binchois ; Du Fay ; Feragut ; Franchois ; A. De Lantins ; H. De Lantins ; Power -- 5. French secular song. The Formes Fixes I . Aspects of the poetry . Du Fay's musical style . Performance practice . Gilles de Bins (dit Binchois) -- 6. Intermedio : 1424-1428 -- 7. The old motet and the new. Definitions ; An isorhythmic motet : Du Fay's Nuper rosrum flores ; Mode and polyphony ; A "tenor" motet : Du Fay's Ave regina caelorum (III) ; Du Fay's life -- 9. The cyclic mass and vespers. The structure of the mass ; The Fourteenth-century legacy ; The early Fifteenth century ; The cyclic Cantus-firmus mass : the English contribution ; Du Fay's Cantus-firmus cycles ; A fictive composition manual ; Why the cyclic Cantus-firmus mass? ; Proper and plenary cycles ; Music for the Vespers service ; Liturgical books ; The liturgical calendar ; Performance practice -- 10. Intermedio : 1453-1454 --

pt. 3. The 1450s to the 1480s. Included: Bedyngham ; Busnoys ; Caron ; Cornago ; Domarto ; Faugues ; Frye ; Guglielmo Ebreo ; Hayne Van Ghizeghem ; Martini ; Morton ; Ockeghem ; Paumann ; Ramos de Pareja ; Regis ; Serafino Dall'Aquila ; Tinctoris ; Touront ; Vincenet -- 11. Toward abstraction in mass and motet. Artifice and complexity I ; The L'homme armé Tradition ; Antoine de Busne (dit Busnoys) ; Artifice and complexity II ; Johannes Ockeghem ; Some important music manuscripts ; Artifice and complexity III ; Ockeghem's style ; Artifice and complexity IV ; The five-voice tenor motet ; Two problematic biographies -- 12. Learning from documents : an ecclesiastical notice -- 13. The patronage of music. The chapels ; The singers ; The patrons ; 14. More secular song. The Formes fixes II ; The combinative chanson ; The "hit parade" ; The chansonniers ; England, Germany, and Spain ; Italy -- 15. Intermedio : 1467-1469 -- 16. Instrumental music and two theorists. Keyboard music ; Instrumental ensemble music ; Dance music ; Postscript. Two theorists -- 17. Editing as chanson : Musica ficta --

pt. 4. The 1470s to the 1520s. Included: Agricola ; Brumel ; Cara ; Compère ; Coppini ; Dalza ; Encina ; Escobar ; Févin ; Finck ; Ghiselin ; Hofhaimer ; Isaac ; Josquin ; La Rue ; Mouton ; Ninot le Petit ; Obrecht ; Petrucci ; Pisano ; Richafort ; Schlick ; Spinacino ; Tromboncino ; Weerbeke -- 18. Inventions in style and transmission. Pervading imitation ; New relationships between voices ; Josquin Desprez ; Music and the printing press -- 19. Intermedio : 1492 -- 20. The virtuoso motet. Music and text ; Canons ; Symbolism ; The function of the Motet -- 21. Editing a chanson : text underlay -- 22. Continuity and transformation in the mass. The heart of the tradition ; Masses built on multiple Cantus firmi ; Three local mass types ; Performance practice -- 23. Intermedio : 1513-1521 -- 24. Old ends and new beginnings in song. The end of the Formes fixes ; The courtly tradition continued ; The popular tradition ; Josquin and the popular tradition ; Italy ; Spain ; Germany -- 25. Instrumental music. Ensemble music ; The ensembles ; Keyboard music ; Lute music ; A trumpet manufacturer --

pt.5. The 1520s to the 1550s. Included: Arcadelt ; Attaingnant ; Berchem ; Browne ; Buus ; Cabezón ; G. Cavazzoni ; Claudin De Sermisy ; Clemens Non Papa ; Cornysh ; Crecquillon ; Fayrfax ; Festa ; Francesco Da Milano ; A. Gabrieli ; Gero ; Gervaise ; Gombert ; Goudimel ; Jacquet of Mantua ; Janequin ; Julio Segni ; Ludford ; Merulo ; Milán ; Morales - Narváez ; Nola ; Passereau ; Pellegrini ; Redford ; Sachs ; Senfl ; Taverner ; Tye ; Verdelot ; Walter ; Willaert -- 26. The Catholic Church and its music. The motet ; Music for the mass ; Vespers psalms for cori spezzati ; The use of scores -- 27. National song styles. The chanson ; The madrigal ; The lied -- 28. Intermedio : 1533-1536 -- 29. The growth of music printing. Printers ; Composers ; Consumers -- 30. Editing a chanson : barring, sources, critical report -- 31. Instrumental music to the end of the century. Transcriptions based on vocal models ; Settings of chant melodies ; Variations ; Performance practice ; The ricercar ; The canzona ; Preludes and toccatas ; Dance music -- 32. Intermedio : 1543-1547 -- 33. The Protestant Reformation. Luther ; Zwingli ; Calvin ; The Dutch Souterliedekens -- 34. Early Tudor England. The Tudor dynasty ; Secular song at the Court of Henry VIII ; Pre-Reformation sacred music ; The Eton Choirbook ; The mass between Eton and the Reformation ; Faburdens and squares ; The English Reformation ; Music for the Anglican Church --

pt. 6. The 1550s to c. 1600. Included: Bull ; Byrd ; Casulana ; Dowland ; Farnaby ; Ferra-bosco ; G. Gabrieli ; Galilei ; Gastoldi ; Gesualdo ; Glarean ; Kerle ; Lassus ; Le Jeune ; Luzzaschi ; Marenzio ; Monteverdi ; Morley ; Mundy ; Palestrina ; Rore ; Ruffo ; Tallis ; Vecchi ; Vicentino ; Victoria ; Weelkes ; Wert ; Wilbye ; Zarlino -- 35. Music theory. Glarean and the modes ; Vicentino and chromaticism ; Zarlino and counterpoint -- 36. Intermedio : 1560-1562 -- 37. The Counter-Reformation in Italy and Spain. The Council of Trent I ; Palestrina ; The Council of Trent II ; Venice ; Spain ; Performance practice -- 38. Music in the service of words. Antiquarianism ; Lassus ; The Italian madrigal ; The lighter forms ; The Ladies of Ferrara ; Talking about music -- 39. Intermedio : 1588-1590 -- 40. Elizabethan England. The late Tudors : Mary and Elizabeth ; The centralization of music ; Latin Church music ; Music for the Anglican Church ; Secular song ; Instrumental music.