Table of Contents

Part I: Beginnings

1. Music and the Cultures of the Renaissance
2. Learning to Be a Musician

Part II: Before 1500

3. Music at Court and a Songbook for Beatrice
4. Piety, Devotion, and Ceremony
5. Structures and Symbols in Cantus Firmus and Canon

Part III: Around 1500

6. Number, Medicine, and Magic
7. Music and the Ideal Courtier
8. Josquin des Prez and the "Perfect Art"
9. Scribes, Printers, and Owners

Part IV: After 1500

10. Music and the Literary Imagination
11. Music and the Crisis of Belief
12. The Arts of Improvisation, Embellishment, and Variation
13. Empire, Exploration, and Encounter
14. Tradition and Innovation around 1600

About the Author

Richard Freedman is John C. Whitehead Professor of Humanities at Haverford College. His writings include a book, The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France, and articles in numerous publications, including The Musical Quarterly, Music and Letters, and The New Grove Dictionary of Music. He is the recipient of grants from the National Endowment for the Humanities, the American Council of Learned Societies, and the Mellon Foundation. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.