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