On the Three Books of the Dodecachordon

A

Sharpness and heaviness [high and low pitch] in strings. page 8
Adam of Fulda, a German composer Symphonetes; Glarean’s term for a composer of multi-voiced music. 261
Adam Luyr of Aachen, composer. 288
From Dorian to Phrygian original: "A Dorio ad phrygium"; a transition between musical modes or a proverb for a radical change: what its true nature and reasoning is. 91
From Dorian to Phrygian, an example in measured [mensural] song. 372
The system of the Aeolian Mode. 70
The nature of the Aeolian Mode. 104
The Aeolian is of the same species as the Hypodorian. 77
Examples of the Aeolian Mode are not all of the same kind. 104
First example of the Aeolian Mode in plainchant cantu plano; the monophonic tradition of the Church. 105
Second example of the Aeolian Mode in plainchant. 106
Third example of the Aeolian Mode in plainchant. 107
Fourth example of the Aeolian Mode in plainchant. 108
The intonation [opening pitch formula] of the Aeolian Mode. 109
Various examples of the Aeolian Mode in measured song. 256
The connection of the Aeolian and Hypoaeolian Modes. 152
First example of the Aeolian and Hypoaeolian connection in plainchant. 153
Second example of the Aeolian and Hypoaeolian connection in the same chant. 154
Third example of the Aeolian and Hypoaeolian connection in the same chant. 155
An example of the Aeolian and Hypoaeolian connected in measured song. 302
Lamb of God original: "Agnus Dei" from Josquin’s Fortuna. 365 & 388
Lamb of God from Josquin’s Hercules [Mass]. 221
The Antiphon Loving Mother of the Redeemer original: "Alma Redemptoris". 16 & 17
What "Alteration" signifies to the musicians of our age refers to the doubling of a note's value in mensural notation. 211
An example of alteration from Franchino [Gaffurio]. 212
A summary Greek: "Anacephalaeosis" of all the modes. 101
Andreas Sylvanus, composer. 432
How the word "Antiphon" is declined [grammatically]. 43
Antoine de Vigne, composer. 253
Antoine Brumel, composer. 456
Antoine de Févin of Orléans, composer. 354
Apotome, that is, the major semitone. 27
A passage of Apuleius cleansed [corrected]. 89
The opinions of Aristoxenus and [Martianus] Capella compared. 63
Aristoxenus’s model of the twelve modes. 81
Arithmetic division original: "Arithmetica Mediatio" according to more recent musicians. 22 & 68
From the rising of the sun original: "A Solis ortu" in plainchant. 164
A passage of Athenaeus discussed. 89
The Athenians and Spartans compared. page 118
The sequence Hail, most bright original: "Ave Praeclara Prosa"; Glarean uses "prosa" for the liturgical "sequence" in plainchant. 159
The sequence Hail, most bright is praised. 176
Hail Mary original: "Ave Maria" in the Aeolian Mode. 107
What "Augmentation" is in music. 205
The Authentic Modes. 30 & 79 and following, & 82
Authentic modes range mostly within the limits of the lower octave Diapason; so too, occasionally, do the Plagal modes. 164

B

The Bass voice original: "Basis uox" is the foundation of every harmony. 84 & 240
Praise for Boethius. 44 & 54 & 51 & 86
The demonstrations of Boethius in music, to what form of strings [they apply]. 85
The sequence Blessed be the Holy Trinity explained. 149
The Breve note, by what figure it is drawn. 196
The natural sign original: "♮"; the "square-B" used to indicate a natural or sharp pitch invented by the musicians of our age. 2

C

What "Cabale" signifies in Suidas [the lexicon]. 47
The Muse Calliope, what she is. 99
The canon of Giorgio Valla. 48
A song in which the intervals are common. 22
The audacity of singers regarding the ending of songs. 163
Chant using the three species of the fourth Diatessaron. 165 & 166
A chant within a fifth, of which mode it belongs. 165 & 166
Praise for ecclesiastical chant. 176
The benefits of simple chant and the disadvantages of measured chant. 177 & 178
Martianus Capella’s naming of the modes. 79
Which is the characteristic or "signed" clef. 6
The chromatic genus of melody. 11
A passage of Cicero examined. 97 & 98
The cithara and the lyre differ. 84
Praise for the cithara. 59 & 441
A diagram of the cithara. 58
The sequence Bright [Assembly] of Saints original: "Clare Sanctorum Prosa" carefully explained by Glarean. 134
What a Clef is. 6
Clefs are arranged in a scale. 2 & 3
The characteristic or signed clef. 6
The transposition of signed clefs. 15
The seven essential clefs. 3
The twenty clefs in Guido's scale. 2 & 6
Color as a sign of imperfection referring to coloration, the use of blackened notes to change rhythm. 210
Color in imperfect notes, with examples. 211
What a "comma" is. 26