Contents: Introduction; Part I Method: On 'instrumental style' in early melody, Lloyd Hibberd; Specific information on the ensembles for composed polyphony, 1400-1474, David Fallows. Part II Songs: Going beyond the limits: experiments with vocalization in the French chanson, 1340-1440, Christopher Page; Performance practices in the frottola, William F. Prizer; The a capella heresy in Spain: an inquisition into the performance of the cancionero repertory, Tess Knighton; Tenorleid, discantleid, polyphonic lied: voices and instruments in German secular polyphony of the Renaissance, Stephen Keyl; Performance practice in the seconda pratticca madrigal, Rinaldo Alessandrini. Part III Sacred Music: The performing ensembles in Josquin's sacred music, David Fallows; Performance practice in the Papal chapel during the 16th century, Richard Sherr; The performance of Palestrina: some questions, but fewer answers, Graham Dixon; The performance of Palestrina: some further observations, Noel O'Regan; What can the organ Partitura to TomA!s Luis de Victoria's Missae, Magnificat, motecta, psalmi et alia quam plurima of 1600 tell us about performance practice?, Noel O'Regan; Minstrels in Spanish churches, 1400-1600, Kenneth Kreitner. Part IV Instrumental Music: Voices and instruments: soloists and ensembles in the 15th century, Keith Polk; A Cook's tour of Ferrara in 1529, Howard Mayer Brown; Notes (and transposing notes) on the transverse flute in the early 16th century, Howard Mayer Brown. Part V Notation: Diatonic ficta, Margaret Bent; 'High' clefs in composition and performance, Andrew Johnstone. Part VI Perspective: Sight-readings: notes on a capella performance practice, Donald Greig; For whom do the singers sing?, Bonnie J. Blackburn; Series Bibliography; Name index.
