Bornstein Andrea: TWO PART ITALIAN DIDACTIC MUSIC

Inhalt
1. THE DIDACTIC DUO: AN OVERVIEW
 1.1. The Didactic Function of the Duo
 1.2. Why Were Two-Part Structures Preferred in Early Didactic Music?
 1.3. The Consistency of Duo Production throughout Two Centuries
 1.4. When and Why Were Duo Collections First Printed?
 1.5. Vocal and Instrumental Performance
 1.6. The Duo as Composition Exercise
 1.7. The Relationship between the Duo and Other Forms of Didactic Music


2. THE EARLY DUO
 2.1. Duos in Johannes Tinctoris’ Treatises
 2.2. Duos in Other Manuscripts
 2.3. Duos on a Tenor: Costanzo Festa and La Spagna
 2.4. Other Duos on La Spagna
 2.5. Manuscript Duos not on a Tenor
 2.6. Duos on Proportions


3. DIFFERENT KINDS OF DUO
 3.1. Nomenclature
 3.2. Vocal vs. Instrumental
 3.3. The two-part Chanson
 3.4. The madrigalian duo
 3.5. Motets and Sacred Madrigals
 3.6. Other Vocal Duos


4. DUOS AS COMPOSITIONS AND AS TEACHING MATERIALS
 4.1. The Musical Fabric
 4.2. Canons
 4.3. Basic Concepts of Solmization
 4.4. Obblighi, Perfidie and Inganni
 4.5. Didacticism and Duos


5. OTHER DIDACTIC MUSIC IN DUO COLLECTIONS
 5.1. Introduction
 5.2. Three and Four-Part Music
 5.3. Music to Sing and to Play
 5.4. Two-Part Canons with an Added Part
 5.5. Other Canons


6. CONCLUSION


BIBLIOGRAPHY


• VOL. II - APPENDICES (pp. 464)


• VOL. III - MUSIC APPENDIX (pp. 240)