Musical Theory in the Renaissance

Cover
 Half Title
 Title
 Copyright
 Contents
 Acknowledgements
 Series Preface
 Introduction
 PART I TERMS AND TOPICS
 1 Margaret Bent (1983), 'Resfacta and Cantare Super Librum', Journal of the American Musicological Society, 36, pp. 371-91.
 2 Bonnie J. Blackburn (1987), 'On Compositional Process in the Fifteenth Century', Journal of the American Musicological Society, 40, pp. 210-84.
 3 Ruth I. DeFord (2005), 'On Diminution and Proportion in Fifteenth-Century Music Theory', Journal of the American Musicological Society, 58, pp. 1-67. 4 Harold Powers (1992), 'Is Mode Real? Pietro Aron, the Octenary System, and Polyphony', Basler Jahrbuch für historische Musikpraxis, 16, pp. 9-52. 5 Cristle Collins Judd (2002), 'Renaissance Modal Theory: Theoretical, Compositional, and Editorial Perspectives', in Thomas Christensen (ed.), Cambridge History of Western Music Theory, Cambridge: Cambridge University Press, pp. 364-106. 
 PART II INFLUENCES AND AUTHORITIES
 6 Ronald Woodley (1987), 'Renaissance Music Theory as Literature: On Reading the Proportionale Musices of Iohannes Tinctoris', Renaissance Studies, 1, pp. 209-20. 7 Claude V. Palisca (1994), 'Aristoxenus Redeemed in the Renaissance', in Studies in the History of Italian Music Theory, Oxford: Clarendon Press, pp. 189-99.8 Gary Tomlinson (1993), 'Modes and Planetary Song: The Musical Alliance of Ethics and Cosmology', in Music in Renaissance Magic: Towards a Historiography of Others, Chicago: University of Chicago Press, pp. 67-100.
 9 Sarah Fuller (1996), 'Defending the Dodecachordon: Ideological Currents in Glarean's Modal Theory', Journal of the American Musicological Society, 49, pp. 191-224. 10 Inga Mai Groote (2008), 'Heinrich Glarean Reading and Editing Boethius', Acta Musicologica, 80, pp. 215-30.PART III LIFE AND WORKS OF INDIVIDUAL THEORISTS
 11 Paolo da Col (1999), 'The Tradition and Science: The Istitutioni harmoniche of Gioseffo Zarlino', Introduction to the Facsimile Edition of Gioseffo Zarlino, Le istitutioni harmonice (Venezia, 1561)', Bibliotheca Musica Bononiensis II, 39, Bologna: Arnaldo Forni, pp. 35-55. 12 Maria R. Maniates (1996), 'Introduction', in Nicola Vicentino, Maria R. Maniates (trans.) and Claude V. Palisca (ed.), Ancient Music Adapted to Modern Practice, New Haven: Yale University Press, pp. xi-lxiii.PART IV NATIONAL TRADITIONS AND DISSEMINATION
 13 Dinko Fabris (1997), 'Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759', in Victor A. Coelho (ed.), Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation, Cambridge: Cambridge University Press, pp. 16-46.