Counterpoint and Compositional Process in the Time of Dufay

• Toward a Comprehensive View of Compositional Priorities in the Music of Dufay and His Contemporaries, Kevin N. Moll * Dufay-Creator of Fauxbourdon, from Acta Musicologica, Heinrich Besseler * Toward a History of the Genesis of Fauxbourdon, from Acta Musicologica, Rudolf von Ficker * Tonal Harmony and Full Sonority: A Reply to Rudolf von Ficker, from Acta Musicologica, Heinrich Besseler * Harmony in the Cantus-Firmus Compositions of the Fifteenth Century, from Archiv fÿr Musikwissenschaft, Bernhard Meier * The 'Tonal Discant' and 'Free Discant' Techniques of Composition in the Fifteenth Century, from Archiv fÿr Musikwissenschaft, Ernst Apfel * The Cantus-Firmus Question in the Fourteenth and Early Fifteenth Centuries, from Archiv fÿr Musikwissenschaft, Gÿnther Schmidt * The Origin of True Four-Voice Counterpoint in England, from Archiv fÿr Musikwissenschaft, Ernst ApfelFour-Voice Counterpoint in the Fourteenth and Fifteenth Centuries, from Archiv fÿr Musikwissenschaft, Ernst Apfel * The Harmonic Structure of Late Medieval Music as a Foundation of Major-Minor Tonality, from Die Musikforschung, Ernst Apfel * Late Medieval Harmonic Structure and Major-Minor Tonality, from Die Musikforschung, Ernst Apfel * Tonality and Harmony in the French Chanson between Machaut and Dufay, from Archiv fÿr Musikwissenschaft, Wolfgang Marggraf * The Effect of Medieval English Polyphony upon the Development of Continental and Cantus-Firmus Techniques and Tonal Structure, from Archiv fÿr Musikwissenschaft, Ernest H. Sanders Index. Appendix. Bibliography

"Moll has performed the herculean service of making these [compositional] issues accessible, . . . [and he] deserves our gratitude for a major achievement. This is essential reading and reference material for anyone working on fifteenth-century music. Indeed, subscription to a Garland series that has started so auspiciously may confidently be recommended." -- Margaret Bent, Notes