Oddział Zbiorów Muzycznych

Map . . 9
Preface . . 10
Editorial comments . . 12
Renaissance and Early Baroque (1550-1650) . . 13
Baroque (1650-1730) . . 32
Intermezzo I . . 63
Late Baroque, Rococo, and Early Classicism (1730-1800) . . 75
Intermezzo II . . 122
The Nineteenth Century . . 135
Intermezzo III . . 228
The Twentieth Century . . 236
Literature . . 276
Illustrations . . 285
Translators . . 288
Index . . 289

Introduction . . 9
Einleitung . . 21
Introduzione . . 33
Acknowledgments . . 43
General Abbreviations . . 46
Bibliographic Abbreviations . . 47
Library and other Sigla . . 55
List of Instruments . . 57

CATALOGUE OF THE WORKS . . 61

APPENDICES . . 397
INDICES
Puccini's works . . 456
Names . . 459

HISTORY OF RESEARCH . . 9
THE DESCRIPTION OF THE CODEX . . 11
RESTORING THE CODEX . . 14
MUSIC-PALAEOGRAPHICAL EXAMINATION OF THE CODEX . . 15
THE PLACE OF THE CODEX IN THE HISTORY OF ARTS . . 21
THE LITURGICAL ANALYSIS OF THE CODEX . . 39
MUSICAL ANALYSIS . . 55
THE ORIGIN AND FATE OF THE CODEX . . 62
BIBLIOGRAPHY . . 67
INDEX CANTUUM . . 71

List of Illustrations . . 9
Preface . . 11
Acknowledgments . . 13

1. Monteverdi: A Personal Approach . . 17
2. 'I, Claudio Monteverdi" . . 48
  Origins of the Selva . . 49
  The Selva as Autobiography . . 53
  The Liturgical Year in Venice . . 64
  Performance Practice . . 80
  Chiavette Off-Key? . . 85
  Basso Continue-Basso Seguente . . 89
  Organs and Organists . . 92
  The Orchestra at S. Marco . . 96
3. Claudio! Audio? . . 101
4. Acoustics, Tempo, Interpretation . . 113
5. Iconografia Claudiana . . 130
6. Monteverdi's Necklace . . 141
7. Fiori Poetici-A Facsimile . . 154

Bibliography . . 230
Index . . 232

List of illustrations . . IX
Foreword by lan Bent . . XV
Preface . . XIX

PART I BEGINNINGS
1 Prologue: Exempli gratia . . 3
2 Music theory incunabula: printed books, printed music . . 17

PART II 1520-1540: PIETRO ARON AND SEBALD HEYDEN
3 Pietro Aron and Petrucci's prints . . 37
4 Music anthologies, theory treatises, and the Reformation: Nuremberg in the 1530s and 1540s . . 82

PART III THE POLYPHONY OF HEINRICH GLAREANf's DODECACHORDON (1547)
5 Exempla, commonplace books, and writing theory . . 117
6 The polyphony of the Dodecachordon . . 138

PART IV GIOSEFFO ZARLINO's LE ISTITUTIONI HARMONICHE (1558)
7 Composition and theory mediated by print culture . . 179
8 "On the modes": the citations of Le istitutioni harmoniche, Part IV . . 226

PART V READINGS PAST AND PRESENT
9 Exempli gratia: a reception history of Magnus es tu Domine/ Tu pauperum refugium . . 265
10 Epilogue: Reading theorists reading (music) . . 318

Bibliography . . 521
Index . . 334