YEARBOOK OF THE ALAMIRE FOUNDATION

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52 ERIC RICE Figure 7. Plan of Aachen’s collegiate church in about 1475 (following the completion of the Gothic choir and the construction of the Chapel of Saint Mary). Figure 6. Cupola of Aachen’s Marienkirche. (Photo by Ann Münchow. © Domkapitel Aachen.)
THE ROLE OF ACOUSTICS IN THE PERFORMANCE OF RENAISSANCE POLYPHONY Figure 8. A view east within the Gothic choir in ca. 1475 as reconstructed by K. Becker. Note the open windows in the Chapel of Saint Mary. 53
Page 1 and 2: YEARBOOK OF THE ALAMIRE FOUNDATION
Page 3 and 4: Yearbook of the Alamire Foundation
Page 5 and 6: ... NEC NON TYRONIBUS QUÀM EIUS AR
Page 7 and 8: DRINKING MOTETS IN MEDIEVAL ARTOIS
Page 9 and 10: TRIPLUM (TRANSLATION) Hare hare hye
Page 13 and 14: TRIPLUM (TRANSLATION) Domine ainz q
Page 17 and 18: TENOR (TRANSLATION) Domine tant ai
Page 19 and 20: FROM VARIETY TO REPETITION: THE BIR
Page 21 and 22: Vir - - - go se - re - - FROM VARIE
Page 41 and 42: ANEW KIND OF PATRON FROM VARIETY TO
Page 43 and 44: THE ROLE OF ACOUSTICS IN THE PERFOR
Page 49: Figure 4. Plan of the Marienkirche
Page 59 and 60: POLYPHONY AND WORD-SOUND IN ADRIAN
Page 73: POLYPHONY AND WORD-SOUND IN ADRIAN
Page 76 and 77: 78 LUMINITA FLOREA The Hague, 6 and
Page 78 and 79: 80 LUMINITA FLOREA Regardless of th
Page 80 and 81: 82 LUMINITA FLOREA THE SCRIPTOR IN
Page 82 and 83: 84 LUMINITA FLOREA At any rate, thi
Page 84 and 85: 86 LUMINITA FLOREA normally result
Page 86 and 87: 88 LUMINITA FLOREA instance, on fol
Page 88 and 89: 90 LUMINITA FLOREA planets, and the
Page 90 and 91: 92 LUMINITA FLOREA The pictor of Ca
Page 92 and 93: 94 LUMINITA FLOREA open buds comfor
Page 95 and 96: UT HEC TE FIGURA DOCET: THE TRANSFO
Page 97 and 98: THE TRANSFORMATION OF MUSIC THEORY
Page 99 and 100: THE TRANSFORMATION OF MUSIC THEORY
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THE TRANSFORMATION OF MUSIC THEORY
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CHANGE AND CONTINUITY IN TWENTIETH-
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ORLANDO DI LASSO ET AL.: ANEW READI
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ORLANDO DI LASSO ET AL.: A NEW READ
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(1) Son morto e moro e pur cerco mo
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(1) Latra traitora tu mi fai morire
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(1) Bona sera como stai core mio be
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THE TWO EDITIONS OF LASSO’S SELEC
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160 RICHARD FREEDMAN Lasso’s chan
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162 RICHARD FREEDMAN prints, but by
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164 RICHARD FREEDMAN It seems likel
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166 RICHARD FREEDMAN II, who ruled
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168 RICHARD FREEDMAN Authorial cont
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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174 RICHARD FREEDMAN machen unnd ei
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176 RICHARD FREEDMAN prejudice both
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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190 BERNHOLD SCHMID Beispiel 6: Num
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192 BERNHOLD SCHMID Mensur in Numme
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194 BERNHOLD SCHMID Bis Takt 20 sin
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196 BERNHOLD SCHMID Beispiel 9b: Nu
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198 BERNHOLD SCHMID beschriebenen G
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200 BERNHOLD SCHMID Anhang 2: Die Q
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202 BERNHOLD SCHMID 1610-2 RISM 161
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MUSIQUE ET POLITIQUE À FLORENCE DA
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MUSIQUE ET POLITIQUE À FLORENCE Po
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MUSIQUE ET POLITIQUE À FLORENCE N
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Corsini, n° 28 Deh perche si rebel
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MUSIQUE ET POLITIQUE À FLORENCE Ro
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MUSIQUE ET POLITIQUE À FLORENCE So
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MUSIQUE ET POLITIQUE À FLORENCE me
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MUSIQUE ET POLITIQUE À FLORENCE D
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MUSIQUE ET POLITIQUE À FLORENCE Le
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MUSIQUE ET POLITIQUE À FLORENCE da
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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230 SUSAN LEWIS HAMMOND YEAR RISM C
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232 SUSAN LEWIS HAMMOND Figure 2. M
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234 SUSAN LEWIS HAMMOND The title p
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236 SUSAN LEWIS HAMMOND Harmonia ce
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238 SUSAN LEWIS HAMMOND Tra romor d
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240 SUSAN LEWIS HAMMOND of King Chr
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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246 SUSAN LEWIS HAMMOND Harmonia ce
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248 SUSAN LEWIS HAMMOND Symphonia a
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250 SUSAN LEWIS HAMMOND Melodia oly
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252 SUSAN LEWIS HAMMOND 1 The listi
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YEARBOOK OF THE ALAMIRE FOUNDATION

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