The Twelve-Stringed Lyre (1547) - Page 21

Salve Regina original: "Salue Regina"; Hail Holy Queen in plainchant. 119
Sanctus of the Blessed Virgin Mary in plainchant. 116
The prose Sancti spiritus adsit nobis gratia original: "Sancti fpiritus adfit nobis gratia"; May the grace of the Holy Spirit be with us in plainchant. 121
The harmony of a Sapphic poem according to the Ionic octave. 191
The schisma, half of a diesis a very small microtonal interval. 27
Sebaldus Heiden, musician a 16th-century German music theorist and cantor. 6 & 215
Sebastian Brant author of "The Ship of Fools" and friend of Glarean. 159
What "semi-" means to musicians. 18
What the figure of a semibreve looks like. 196
What "semiditas" diminution, or halving the value of notes is according to modern musicians. 207
The semidiapente, a diminished fifth. 20
The semidiapason, a diminished octave. 21
The semiditone, a minor third. 19
The semiditone with a fifth, a minor seventh. 21
What the figures of the semifusa and the semitone look like. 196
What a minor semitone is. 19
The minor semitone, called diesis or limma in Greek. 27
The major semitone, called apotome in Greek. 27
A semitone with a fifth. 20
The power of the minor semitone in varying the species of all consonances. 65, 23, & 24
The locations of semitones in the seven species of the octave diapason. 68 & 11
The variation of even a single semitone changes both the species of the octave and the Mode. 75
The seven species of the octave are the seven Modes. 66
The logic of the number seven provided according to various authors. 94
What kind of speech should be used in the disciplines. 3
The opinion of Servius a classical commentator on Virgil concerning the strings of the Cithara, defended against Poliziano. 83
Sesquipla or sesquialtera proportion a 3:2 ratio. 233
Three examples of sesquialtera. 233 & 234
A fourth example of sesquialtera. 236
A fifth example of sesquialtera. 238
Sicut Malus original: "Sicut Malus"; Like an apple tree, an antiphon in plainchant. 155
Signs of Mode, Time, and Prolation. 101
Implicit signs of Mode, Time, and Prolation. 203
What a signed clef or characteristic [sign] is. 6
Simple or plainchant is praised. 176
Sixtus Dieterich, composer Symphonetes. 276, 328, & 342
Sound in the heavens according to the Hypodorian system. 95
Sound in the heavens, and two opinions concerning it. 95
Sound in the heavens according to the Pythagoreans, following the author Pliny. 97
How species in intervals are to be taken; the rule of Boethius. 23
The Nicene Creed in the Aeolian Mode. 106
Who the Composer Symphonetes and the Singer Phonascus are. 164

The talents of composers. 441
What System, Trope, and Constitution are. 67
What syncopation syncope is to modern musicians, and an example of it. 213
The synemmenon conjunct, the third tetrachord with four strings. 10
The Syntonolydian original: "Συντονoλυδιὰ"; an intense or "tightened" Lydian mode in Plato. 128
What superparticular proportion is. 228
What superpartient proportion is. 228

What the beat tactus is in music, and how many kinds there are. 203 & 204
The beat is best recognized through the resolution of the notes. 204
Te Deum laudamus original: "Te Deum laudamus"; We praise thee, O God in plainchant. 110
What "Time" tempus is in the new music. 201
Why the TENOR is so called. 240
Examples of Tenors that do not fill the octave in mensural song. 430 and following.
The responsory Te Sanctum Dominum original: "Te Sanctũ Dominũ"; Thee, the Holy Lord in plainchant. 154
A passage of Terence in the Eunuch. 85
The disjunct diezeugmenon and conjunct synemmenon tetrachords. 2, 9 & 10
The sesquitertian ratio 4:3 of tetrachords. 10
Five tetrachords with four strings each. 10
Thomas Tzamen of Aachen, composer. 296
The Lamentations Threni of the Blessed Magdalene in the Phrygian Mode. 314
A TONE, the perfect second. 19
A tone with a fifth, the major sixth. 20
A tone is not truly a consonance. 25
The division of a tone with definitions of its parts. 27
A tone cannot be divided into two equal parts. 27
How a tone is reliably identified in the sesquioctave ratio 9:8. 45
A tone results from a ninefold division in the sectioning of the monochord. 50 & 51
The rule of transposition and a long example. 15 & 16
The transposition of signed clefs. 15 & 16
Three things necessary for perfect music. 44
Three kinds of melody-making modulandi. 11
The threefold division of strings. 50
Triple proportion. 230
Two examples of triple proportion. 230 & 231
The tritone, a fourth unsuitable for the diatonic genus. 19
Mensural songs of three ages referring to generations of composers. 240
The harmony of the Trochaic genus according to the Ionic. 191
The harmony of the Trochaic genus according to the Ionic and Hypoionic. 192 & 193
"Trope" is the same as System, Mode, and Constitution. 66
The Tyndarids referring to Castor and Pollux, likely in a poetic or metaphorical context. 43
A model of the eight common Modes. 30
A model of the 15 Modes in Martianus Capella as depicted by Franchino [Gaffurio]. 62
A model of the same [15 Modes] as depicted by Glarean. 80
A model of the 12 Modes of Aristoxenus. 81