The Twelve-Stringed Lyre

The major seventh Ditonus cum diapente; literally "a ditone plus a fifth". 21
The Lord be with you original: "Dominus vobiscum" or The Genealogy of Jesus Christ in plainchant. 108
Lord, who shall dwell original: "Domine quis habitabit" in plainchant. 114
The DORIAN Mode, from D to d. 66
Why the Dorian is the first of the Modes. 76
The nature of the Dorian Mode. 118
That the Dorian is a true Greek Mode. (ibid.)
The Dorian compared to a grave man. (ibid.)
The Dorian and Ionian Modes compared to one another according to the character of the peoples from which they take their names. (ibid.)
The Dorian compared to the Phrygian, Ionian, and Lydian Modes by Plato. (ibid.)
The Dorian is most fit for singing Heroic poems, according to Glarean's own experiment. (ibid.)
An example of the Dorian in plainchant. 119
An example of the Dorian in measured [mensural] song. 296 and following.
The Dorian phrase, but with irregular licentiosa ascent, descent, and ending. 451
The connection of the Dorian and Hypodorian. 141
An example of the Dorian and Hypodorian connection in plainchant. 141
Examples of the Dorian and Hypodorian connected in measured song. 368 and following.
An example of the Dorian and Hypodorian connected, ending on the Phrygian seat. 447
An example of the Dorian and Hypodorian connected with a minor third semitidono above. 448
The double ratio Dupla proportio; 2:1 ratio. 229
Two examples of the double ratio. 229 & 230

E

Church musicians Ecclesiastici are bold in transposing chants. 31
Jesus went forth across the Kidron stream original: "Egressus Iesus de torrente Cedron", the musical setting explained in plainchant with connected joints commissuris. 146 & 147
Elements of Practical Music. 1
Two musical settings Harmoniae for elegiac verse. 212
The Responsory Let us amend for the better original: "Emendemus in melius". 103
The Enharmonic, the third genus of melody. 11
Erasmus of Rotterdam. 120, 134, & 190
The Hermitage of the Swiss Refers to Einsiedeln Abbey. 154
And on earth peace original: "Et in terra pax", a song for the Blessed Virgin MARY explained in measured song. 365 & 366
The beginning of the Gospel of Matthew in the Aeolian Mode. 108
An example of the common Lydian and Ionian in plainchant. 131
A common example of the Lydian and Ionian in measured song. 338
An example of the same song but with a twofold ending. 164
The extreme or last string, how it is used. 84 & 85

F

What "feigned" notes fictae voces; musica ficta are. 9
The shapes of notes in simple or plainchant. 8
The shapes of notes in measured [mensural] song. 196
Franchino Gaffurio of Lodi Franchinus Gaforus is praised. 2, 44, & 195
Franchino is criticized. 60, 63, 79, & 109
Franchino did not understand the logic of the Modes in Martianus Capella. 60, 61, & 65
Franchino did not perceive the true logic of the Modes. 63
Franchino’s final work. 59
Franchino's opinion on signs in measured song. 195
Franchino's musical settings for a Sapphic poem. 180
A canon Fuge at the minim, an example by Josquin des Prez original: "Iodoco Pratensi". 453
A three-voice canon on the three species of the Fourth, an example by Ostenheim in measured song. 454
The fusa [quaver/eighth note], what kind of shape it is in measured song. 196

G

A general diagram of Music. 4
The three genera of melody Diatonic, Chromatic, and Enharmonic. 11
Giorgio Valla rebuked. 77
What kind of man Giorgio Valla was in Glarean's judgment. 86
Gerardus à Salice, a Flemish composer Symphonetes. 280
Glarean's teacher, Michael Rubellus. 155
Glarean's instrument for finding consonances. 48
Glarean crowned [with the laurel] by Emperor Maximilian. 118
Glarean's musical settings for the Odes of Horace. 181
Glarean's youthful poem in praise of the Cithara. 470
Low, high, bottom, extreme, last: how these terms should be understood. 48 & 85
Gregorius Meyer, composer. 336, 366, & 434
Guido of Arezzo is praised. 2 & 46

H

Musical settings for the Odes of Horace rejected. 179
A setting for the first Ode of Horace in the Dorian mode. 181
A setting for the third Ode of Horace in the Dorian mode. 181 & 182
A setting for the 9th Ode of Book 3 in the Dorian mode. 182
A setting for the 13th Ode of Horace, Book 1, in the Dorian mode. 183
A setting for the 9th Ode of Horace, Book 1, in the Dorian mode. 184
A setting for the Iambics of Horace in the Dorian mode. 185
Two settings for elegiac verse. 187
A setting for the fifth genus of Horace’s Odes in the Phrygian mode. 189
A setting for the 5th Ode of Horace in the Phrygian mode. 190
A setting for a Phalaecian poem. 186
A setting in the Ionian mode. 191
A setting of an Ionian poem in Horace, Book 3, Ode 12, in the Ionian and Hypoionian Modes. 193 & 194
Harmonic division Harmonica Mediatio; the division of an octave into a fifth and a fourth. 21 & 68
The Hermitage of the Swiss. 154
Heinrich Isaac, composer, is praised. 149
Heinrich Isaac, composer, is described. 460
A remarkable example by Heinrich Isaac, resolved. 462
Praise for Hermannus Contractus, Count of Veringen, a monk of St. Gall among the Swiss. 16, 118, & 176