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Preface; Note on Score Reading; 1. Epitaph of Seikilos; Instructions for Reading Quadratic Notation; 2. Psalm Verse, Justus ut palma (Ps. 91, 12) in Four Liturgical Settings; a) Antiphon to Full Psalm Recitation (Commemoration of a Martyr Saint); b) Introit (Commemoration of a Saint Who Was a Confessor but Not a Bishop); c) Offertory (Commemoration of a Church Doctor); d) Alleluia (Commemoration of an Abbot); 3. Two Graduals; a) Justus ut palma (Feast of St. John the Baptist); b) Haec dies (Easter Sunday); 4. Frankish Chants for the Mass Ordinary; a) Kyrie IV; b) Cunctipotens Genitor Deus; c) Gloria IV; d) Credo I; e) Sanctus I; f) Agnus Dei II; 5. Two Sequences in Modern Use; a) Victimae paschali laudes (Easter); b) Dies irae (Mass for the Dead); 6. Hildegard of Bingen, Columba aspexit (Sequence for St. Maximinus); 7. Three Frankish Hymns; a) Ave maris stella (Veneration of the Virgin Mary); b) Pange lingua gloriosi (Feast of Corpus Christi); c) Veni creator spiritus (Pentecost); 8. Two Tropes to the Easter Introit, Resurrexi et adhuc tecum sum; a) Ecce pater; b) Quem quaeritis in sepulchro; 9. Two Marian Antiphons; a) Regina caeli laetare; b) Salve Regina; 10. Bernart de Ventadorn, Can vei la lauzeta mover (When I see the lark flutter his wings); 11. Marcabru, L’autrier jost’ una sebissa (The other day by a hedge row); 12. La Comtessa de Dia, A chantar m’er de so qu’ieu no volria (I must sing of that which I would rather not); 13. Richard the Lionheart, Ja nun hons pris (No captive can tell his story); 14. Moniot d’Arras, Ce fut en mai (It was in May); 15. Adam de la Halle, Three Dance Songs with Refrains; a) Je muir, je muir d’amorete (I die, I die of love), Rondeau; b) Dieus soit en cheste maison (God, be in this house), Ballade; c) Fines amouretes (I have many fine lovers), Virelai; 16. Anonymous, Jubilemus exultemus; 17. Anonymous, Ad superni Regis; 18. Leonin, Viderunt omnes; 19. Perotin, Viderunt omnes; 20. Anonymous, Vetus abit littera; 21. Anonymous, Ex semine rosa/Ex semine Habrahe/EX SEMINE; 22. Anonymous, L’autre jour/Au tens pascour/IN SECULUM; 23. Anonymous, On parole/A Paris/FRESE NOUVELE; 24. Attributed to Philippe de Vitry, Tribum/Quoniam/MERITO; 25. Guillaume de Machaut, Felix virgo/Inviolata/AD TE SUSPIRAMUS; 26. Guillaume de Machaut, Three Virelais; a) Douce dame jolie (Fair, sweet lady); b) En mon cuer (In my heart); c) Tres bonne et belle (Very good and beautiful lady); 27. Guillaume de Machaut, Rose, liz (Rose, lily); 28. Guillaume de Machaut, Messe de Nostre Dame (Mass of Our Lady), Kyrie; 29. Philippus de Caserta, En remirant (While admiring); 30. Solage, Fumeux fume (A smoker smokes); 31. Jacopo da Bologna, Two Settings of Osellecto selvaggio (A wild bird); a) Madrigal; b) Caccia; 32. Francesco Landini, Non avra ma’ pieta (My lady will never have on pity me); 33. Johannes Ciconia, Doctorum Principem/Melodia Suavissima/VIR MITIS; 34. Guillaume Du Fay, Nuper rosarum flores/TERRIBILIS EST LOCUS ISTE; 35. Anonymous, Sumer is icumen in (Summer has come); 36. Anonymous, Thomas gemma Cantuariae/Thomas cesus in Doveria; 37. John Dunstable, Quam pulchra es; 38. Guillaume Du Fay, Ave maris stella; 39. Gilles Binchois, Deuil angoisseux (Anguished grief); 40. Anonymous, Missa Caput, Kyrie; 41. Johannes Ockeghem, Missa Caput, Kyrie; 42. Antoine Busnoys, Missa L’homme arme; a) Sanctus; b) Agnus Dei; 43. Philippe Basiron, Salve regina; 44. Loyset Compere, Ave Maria; 45. Johannes Ockeghem, Ma bouche rit (My mouth laughs); 46. Johannes Ghiselin, La Alfonsina; 47. Josquin des Prez, Ave Maria . . . Virgo serena; 48. Antoine de Fevin, Missa super Ave Maria, Kyrie; 49. Josquin des Prez, Benedicta es; 50. Adrian Willaert, Benedicta es; 51. Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (Mass of Pope Marcellus), Kyrie, Gloria, Credo; 52. Giovanni Pierluigi da Palestrina, Tui sunt caeli; 53. William Byrd, two settings of the Agnus Dei; a) The Mass in Four Parts; b) The Mass in Five Parts; 54. Johann Walther, Christ lag in Todesbanden (Christ lay in the bonds of death); 55. Giovanni Gabrieli, In ecclesiis; 56. Marco Cara, Mal un muta per effecto (One cannot really change); 57. Claudin de Sermisy, Tant que vivray (As long as I live); 58. Orlando di Lasso, Four Compositions; a) Je l’ayme bien (I love her); b) Matona mia cara (My lady, my darling); c) Audite nova (Hear the news); d) Prophetiae Sibyllarum, Prologue; 59. Jacques Arcadelt, Il bianco e dolce cigno (The white and sweet swan); 60. Cipriano de Rore, Dalle belle contrade d’oriente (From the fair regions of the east); 61. Luca Marenzio, Solo e pensoso (Alone and thoughtful); 62. Claudio Monteverdi, Cruda Amarilli (Cruel Amaryllis); 63. Carlo Gesualdo, Moro, lasso (I shall die, O miserable me); 64. Thomas Weelkes, As Vesta was from Latmos hill descending; 65. Giulio Caccini, Le nuove musiche: Amarilli, mia bella (Amaryllis, my beautiful one); 66. Jacopo Peri, Le musiche . . . sopra l’Euridice, Excerpt from Scene 2; 67. Claudio Monteverdi, L’Orfeo favola in musica, Act 2; 68. Claudio Monteverdi, L’incoronazione di Poppea (The Coronation of Poppea), Excerpts from Acts 1 and 3; 69. Girolamo Frescobaldi, Cento partite sopra passacagli, (A Hundred Variations on Passacagli); 70. Samuel Scheidt, Christ lag in Todesbanden (Christ lay in the bonds of death); 71. Heinrich Schutz, Symphoniae sacrae: I, Op. 6, O quam tu pulchra es (O how beautiful art thou); 72. Heinrich Schutz, Symphoniae sacrae: III, Op. 12, Saul, Saul, was verfolgst du mich, (Saul, Saul, why do you persecute me?); 73. Giacomo Carissimi, Jephthe, Concluding solo and chorus; 74. Barbara Strozzi, Lagrime mie (My tears); 75. Jean-Baptiste Lully, Atys, Overture and Act 3; 76. Jean-Philippe Rameau, Castor et Pollux, Act 5, Scene 7, arietta; 77. Henry Purcell, Dido and Aeneas, Act 3, Conclusion; 78. Alessandro Scarlatti, Andate, o miei sospiri (Go, oh my sighs); 79. Arcangelo Corelli, Trio Sonata in G minor, Op. 3, No. 11; 80. Antonio Vivaldi, La primavera (Spring); 81. Two Chorale Preludes on Durch Adams Fall ist ganz verderbt (Through Adam’s Fall We Are Condemned), (a) Dietrich Buxtehude, BuxWV 183, (b) Johann Sebastian Bach, BWV 637, fromOrgel-Buchlein; 82. Johann Sebastian Bach, Fugue in G minor; 83. Johann Sebastian Bach, Das wohltemperirte Clavier (The Well-Tempered Keyboard), Book 1; a) Prelude No. 1 in C; b) Fugue No. 24 in B minor; 84. Johann Sebastian Bach, French Suite No. 5 in G; 85. Francois Couperin, Le rossignol en amour and Rossignol double; 86. Johann Sebastian Bach, Brandenburg Concerto No. 5 in D; 87. George Frideric Handel, Giulio Cesare in Egitto, Act 1, Scene 3, Empio, diro, tu sei (Evil you are, I say); 88. George Frideric Handel, Israel in Egypt, Selections from Part 2; 89. George Frideric Handel, an example of self-borrowing; a) No, di voi non vo’ fidarmi, Movement 1; b) Messiah, Part 1, For unto us a Child is born; 90. Johann Sebastian Bach, Christ lag in Todesbanden, (Christ lay in the bonds of death); 91. Johann Sebastian Bach, St. Matthew Passion, Opening Chorus; 92. Domenico Scarlatti, Two Keyboard Sonatas:; a) Sonata in G, K. 105; b) Sonata in F minor, K. 481; Source Notes; Index of Names; Index of Terms

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