Plus ça change

Chapters in this book

1. Frontmatter i
2. Foreword vii
3. Contents ix
4. Scholar and Teacher 1
5. Four Canons 18
6. I. MUSIC HISTORY
7. Current Historiography and Music History 23
8. II. WORDS AND MUSIC IN CHRISTIAN LITURGY
9. Three Byzantine Acclamations on the Structure of the Alleluia 43
10. On the Structure of the Alleluia Melisma: A Western Tendency in Western Chant 59
11. The Tropi Ad Sequentiam 73
12. III. SOURCES, PROBLEMS: ARS NOVA AND RENAISSANCE
13. Some Dates for Bartolino da Padova 85
14. Church Polyphony Apropos of a New Fragment at Foligno 113
15. The Motets of Lionel Power 127
16. Some Ambiguities of the Mensural System 137
17. A Sample Problem of Musica Fietax Willaert’s Pater noster 161
18. Echoes of Adrian Willaert’s Chromatic “Duo” in Sixteenth- and Seventeenth- Century Compositions 183
19. IV. ITALIAN OPERA
20. “Vi sono molt’altre mezz’Arie . . .” 241
21. L’Erismena Travestita 259
22. Plus ça change 325
23. Agostino Stefiani’s Hannover Operas and a Rediscovered Catalogue 341
24. The Travels of Partenope 356
25. V. STUDIES OF THE GREAT COMPOSERS
26. Handel’s Giulio Cesare in Egitto 389
27. Musical Sketches in J. S. Bach’s Cantata Autographs 405
28. Haydn’s Creation Revisited: An Introductory Essay 429
29. Some Musical Jokes in Mozart’s Le Nozze di Figaro 443
30. “Stürzet nieder, Millionen” 449
31. Wagner’s Musical Sketches for Siegfrieds Tod 459
32. Verdi’s Use of Recurring Themes 495
33. Bibliography of the Writings of Oliver Strunk 511
34. Index 519