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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>List of Figures and Plates</TD><TD WIDTH=40></TD><TD VALIGN=TOP>vii</TD><TD></TD></TR><TR><TD>List of Tables</TD><TD WIDTH=40></TD><TD VALIGN=TOP>ix</TD><TD></TD></TR><TR><TD>List of Music Examples</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xi</TD><TD></TD></TR><TR><TD>Notes on Contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiii</TD><TD></TD></TR><TR><TD>Acknowledgements</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xvii</TD><TD></TD></TR><TR><TD>Introduction</TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD></TD></TR><TR><TD>PART I VIEWING THE EVIDENCE</TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>1 A Sight-Reading Vielle Player from the Thirteenth Century</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>13</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>John Haines</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>2 The Story of O: A Variant in the Becket Office</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>27</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Andrew Hughes</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>3 Rubrics in Trent 93 and Trent 90: A Performer's Guide?</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>61</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Brian E. Power</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>4 The Ghost of Perfection: Some Thoughts on the Munich Partbooks</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>85</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Honey Meconi</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>5 Reading the Signs: Notation and Performance in the French Popular Song Repertory</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>103</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Maureen Epp</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>6 Vincenzo Galilei's Re-Vision of Renaissance Tuning: Trading on Nature and Art</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>123</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Leslie Korrick</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>PART II RECONSIDERING CONTEXTS</TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>7 Possible Origins of the Lo Dances, and Their Performance Implications</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>155</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Randall Rosenfeld</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>8 Chamber Musicians, Singers and Performance Practices in the Early Fifteenth Century</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>185</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Keith Polk</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>9 A Measure of Moral Virtue: Women, Dancing and Public Performance in Fifteenth-century Italy</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>197</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Jennifer Nevile</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>10 Irregular and Asymmetric Galliards: The Case of Salamone Rossi</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>211</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Barbara Sparti</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>11 Limitations of Meaning: Text and Context in Monteverdi's Baci soavi e cari (1587)</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>229</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Robert Toft</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>12 Hooked on Ecstasy: Performance 'Practice' and the Reception of the Music of Hildegard of Bingen</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>253</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Jennifer Bain</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>Publications of Timothy J. McGee</TD><TD WIDTH=40></TD><TD VALIGN=TOP>275</TD><TD></TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>279</TD><TD></TD></TR></TABLE>

xv, 291 pages : illustrations (some color) ; 24 cm

The sounds and sights of performance in early music : essays in honour of Timothy J. Mcgee