FOOTNOTES:[7]“Renaissance in Italy.” Part III. The Fine Arts, p. 6.[8]See, for a complete description of the Church ritual, Mr. Edward Dickinson’s “History of Music in the Western Church,” Chapters III and IV.[9]Op. cit., p. 96.[10]See Chapter I, p. 25.[11][audio/mpeg]score2pg51FIGURE I. RANGE OF SOPRANOS AND TENORS. (D to G.)score3_p51RANGE OF CONTRALTOS AND BASSES. (G to C.)[12]See page 61.[13]The word counterpoint, from the Latin “punctus contra punctum,” meaning note (or point) against note, describes that mode of writing in which various melodies progress simultaneously, or one against another.[14]Op. cit., p. 178.
FOOTNOTES:
[7]“Renaissance in Italy.” Part III. The Fine Arts, p. 6.
[7]“Renaissance in Italy.” Part III. The Fine Arts, p. 6.
[8]See, for a complete description of the Church ritual, Mr. Edward Dickinson’s “History of Music in the Western Church,” Chapters III and IV.
[8]See, for a complete description of the Church ritual, Mr. Edward Dickinson’s “History of Music in the Western Church,” Chapters III and IV.
[9]Op. cit., p. 96.
[9]Op. cit., p. 96.
[10]See Chapter I, p. 25.
[10]See Chapter I, p. 25.
[11][audio/mpeg]score2pg51FIGURE I. RANGE OF SOPRANOS AND TENORS. (D to G.)score3_p51RANGE OF CONTRALTOS AND BASSES. (G to C.)
[11]
[audio/mpeg]
score2pg51FIGURE I. RANGE OF SOPRANOS AND TENORS. (D to G.)
FIGURE I. RANGE OF SOPRANOS AND TENORS. (D to G.)
score3_p51RANGE OF CONTRALTOS AND BASSES. (G to C.)
RANGE OF CONTRALTOS AND BASSES. (G to C.)
[12]See page 61.
[12]See page 61.
[13]The word counterpoint, from the Latin “punctus contra punctum,” meaning note (or point) against note, describes that mode of writing in which various melodies progress simultaneously, or one against another.
[13]The word counterpoint, from the Latin “punctus contra punctum,” meaning note (or point) against note, describes that mode of writing in which various melodies progress simultaneously, or one against another.
[14]Op. cit., p. 178.
[14]Op. cit., p. 178.