The Twelve-Stringed Lyre (1547) - Page 19

Kyrie of Our Lady in plainchant. 153
The same in figural polyphonic song. 366

The Lacedaemonians Spartans compared to the Athenians. 118
Josquin's song Liber generationis The Book of the Generation explained. 365
What the Lichanos the index-finger string in the ancient Greek system is. 10
Several passages of Boethius. 85
What kind of figure the Long a long note value in mensural notation is. 197
Ludwig Senfl original: "Lutuichus Sefli9" of Zurich, composer Symphonetes. 221, 331, & 444
A passage of Lucian discussed. 90
A humorous song of Louis, King of the French Louis XII. 468
The LYDIAN Mode from F to f. 66
The Lydian Mode cannot be divided arithmetically referring to the division of the octave into a fourth and a fifth. 70
Why the Lydian is the fifth mode. 76
The gravity of the Lydian was wonderfully pleasing to the ancient Churchmen. 93
The nature of the Lydian Mode. 127
The strange corruption of the Lydian through its change into the Ionian. 130
Corrupted and distorted Lydian songs in our age, the same.
The double use of the Lydian among the ancient Churchmen. 128
Two examples of the first use of the Lydian in plainchant. 128 & 129
A true example of the second use of the Lydian in plainchant. 129 & 130
A common example of the Lydian and Ionian in plainchant, the same.
A common example of the Lydian and Ionian in figural song. 337
Intonations melodic opening formulas of the Lydian. 129
Examples of the Lydian in mensural song. 328 and following.
The connection of the Lydian and Hypolydian. 144
An example of the connected Lydian and Hypolydian in plainchant. 145
An example of the connected Lydian and Hypolydian in mensural song. 388

Macrobius is noted. 94
How the noun Magas original: "Μάγάς"; the bridge of a stringed instrument is declined. 43
What the name Magas signifies. 46
What Magas truly signifies. 47
The Magas is called a "Rule" Canon by Giorgio Valla. 48
How five names of the Magadis are distinguished. 48
Magados spoken in the masculine gender. 47
Magadis, -idos in the feminine gender. 46 & 47
Another meaning of Magadis. 48
What "to magadize" original: "Μαγάζειν & μαγαδιζειν"; to play or sing in octaves means. 48
The words of Martianus Capella regarding the 15 Modes. 63
The Emperor Maximilian is praised. 118
What kind of figure the Maxima the largest note value is. 196
The double mediation division of the octave diapason. 21 & 68
What the Mese and Paramese are central notes in the ancient Greek scale. 10
The Meson, the second tetrachord with four strings. 10
MICHAEL Rubellus, teacher of Glarean. 155
What kind of figure the Minim is. 196
The polyphonic Mass of Antoine Brumel and his other works. 456
An example of a Mass "on every tone" from [Johannes] Ostenheim. 455
The MIXOLYDIAN Mode from G to g. 66
Why the Mixolydian is so called. 77
Mixolydian original: "Μιξολυδιϛί" in Plato. 127

Why the Mixolydian is the seventh [mode]. 76
Many Mixolydian songs indicated. 134
The nature and use of the Mixolydian among the ancients. 133
An example of the Mixolydian in plainchant. 135 & 136
Examples of the Mixolydian in mensural song. 346
The connection of the Mixolydian and Hypomixolydian modes. 150
An example of their connection in plainchant. 150 & 151
An example of their connection in mensural song. 392
What the MUSICAL MODES are, namely the species of the octave diapason. 29
How the musical modes are treated by the musicians of our age. 29
Four even [plagal] modes and as many odd [authentic] modes. 29
Musical modes are improperly called "tones." 29
The pattern of the 8 modes. 30
Common knowledge of the modes. 32
The "final" ending note of the modes in songs. 31
The range ambitus of the modes. 34
A mode is compared to a river in its range. 34
The formula of the common modes from Franchino [Gaffurio]. 33
The connection of the modes. 34
The use of the modes in a singing choir. 35
Formulas for the modes in intonations. 35
Intonations of the 8 modes in the lesser psalms. 35 & 36
Intonations of the 8 modes in the greater psalms. 36 & 37
The 6 principal authentic modes. 64
Likewise, the 6 plagal modes. 64
Only three modes according to the common herd of singers. 65
The modes are distinguished as the 7 species of the octave. 65
The modes are called "Harmonies" among the Greeks. 65
From where the 7 modes or 7 species of the octave take their names in the Boethian nomenclature. 66
The change of the modes through the ages. 72
In essence, there are only 7 modes. 72
The order of the modes in the nomenclature. 76
The 6 modes of odd number [authentic] divided harmonically. 78
The 6 modes of even number [plagal] divided arithmetically. 78
The three modes named after nations. 76, 77, & 78
The fixed nomenclature of the 12 modes to be observed throughout the context of the books. 79
Some changes of the modes are easy, some difficult. 89
The connection of the modes at length. 138
Strictly speaking, 6 connections of the modes, the same.
Authentic modes differ from Plagal by a fourth, the same.
The seventh, but improper, connection of the modes; how much it differs from the previous ones. 139
The modes are known especially through the octave and its mediation according to the fifth diapente and the fourth diatessaron. 162
Examples of the connection of two modes in mensural song. 362 and following at length.
The hidden relationship of the modes in four-voice harmony. 251
What "Mode" means in mensural song referring to the rhythmic relationship between note values. 201
The three kinds of modulating melodic composition. 9