Coordination of Ideas and Styles in the Western Musical Tradition with Oxford Anthology of Western
Music, vol. 1 (OAWM 1)
Ideas and Styles
chapter
1
Page(s)
Piece
OAWM 1
no.
1
2-8
Epitaph of Seikilos
3
31-32
Psalm Verse Justus ut palma (Ps. 91, 12) in Four Liturgical Settings:
Antiphon to Full Psalm Recitation (Commemoration of a Martyr Saint)
2a
3
27-29
Psalm Verse Justus ut palma (Ps. 91, 12) in Four Liturgical Settings: Introit
(Commemoration of a Saint Who Was a Confessor but Not a Bishop)
2b
3
27-29
Psalm Verse Justus ut palma (Ps. 91, 12) in Four Liturgical Settings:
Offertory (Commemoration of a Church Doctor)
2c
3
27-29
Psalm Verse Justus ut palma (Ps. 91, 12) in Four Liturgical Settings: Alleluia
(Commemoration of an Abbot)
2
3
27-29
Two Graduals: Justus ut palma (Feast of St. John the Baptist)
3a
3
27-29
Two Graduals: Haec dies (Easter Sunday)
3b
3
27-29, 33
Frankish Chants for the Mass Ordinary: Kyrie IV
4a
3
Frankish Chants for the Mass Ordinary: Cunctipotens Genitor Deus
4b
3
27-29, 4142
27-29
Frankish Chants for the Mass Ordinary: Gloria IV
4c
3
27-29
Frankish Chants for the Mass Ordinary: Credo I
4
3
27-29
Frankish Chants for the Mass Ordinary: Sanctus I
4e
3
27-29
Frankish Chants for the Mass Ordinary: Agnus Dei II
4f
3
42-43
Two Sequences in Modern Use: Victimae paschali laudes (Easter)
5a
3
42-43
Two Sequences in Modern Use: Dies irae (Mass for the Dead)
5b
3
42-44
Hildegard of Bingen, Columba aspexit (Sequence for St. Maximinus)
6
3
26, 31-33
Three Frankish Hymns: Ave maris stella (Veneration of the Virgin Mary)
7a
3
26, 31-33
Three Frankish Hymns: Pange lingua gloriosi (Feast of Corpus Christi)
7b
3
26, 31-33
Three Frankish Hymns: Veni creator spiritus (Pentecost)
7c
3
41-42
Two Tropes to the Easter Introit, Resurrexi et adhuc tecum sum: Ecce pater
8a
3
41-42
Two Tropes to the Easter Introit, Resurrexi et adhuc tecum sum: Quem
quaeritis in sepulchro
8b
3
26-28
Two Marian Antiphons: Regina caeli laetare
9a
3
26-28
Two Marian Antiphons: Salve Regina
9b
4
49-53
Bernart de Ventadorn, Can vei la lauzeta mover (“When I see the lark
flutter his wings”)
10
4
49-53
Marcabru, L’autrier jost’ una sebissa (“The other day by a hedge row”)
11
4
49-53
La Comtessa de Dia, A chantar m’er de so qu’ieu non volria (“I must sing of
that which I would rather not”)
12
4
49-53
Richard the Lionheart, Ja nun hons pris (“No captive can tell his story”)
13
4
49-53
Moniot d’Arras, Ce fut en mai (“It was in May”)
14
4
49-53
Adam de la Halle, Three Dance Songs with Refrains: Je muir, je muir
d’amorete (“I die, I die of love”), Rondeau
15a
4
49-53
Adam de la Halle, Three Dance Songs with Refrains: Dieus soit en cheste
maison (“God, be in this house”), Ballade
15b
4
49-53
Adam de la Halle, Three Dance Songs with Refrains: Fines amouretes (“I
have many fine lovers”), Virelai
15c
5
62-67
Anonymous, Jubilemus exultemus
16
5
64-65
Anonymous, Ad superni Regis
17
5
69-72
Leonin, Viderunt omnes
18
5
72-74
Perotin, Viderunt omnes
19
5
76
Anonymous, Vetus abit littera
20
5
76-78
Anonymous, Ex semine rosa/Ex semine Habrahe/EX SEMINE
21
5
76-78
Anonymous, L’autre jour/Au tens pascour/IN SECULUM
22
5
76-78
Anonymous, On parole/A Paris/FRESE NOUVELE
23
6
85-90
Attributed to Philippe de Vitry, Tribum/Quoniam/MERITO
24
6
90-92
Guillaume de Machaut, Felix virgo/Inviolata/AD TE SUSPIRAMUS
25
6
90-92
Guillaume de Machaut, Three Virelais: Douce dame jolie (“Fair, sweet
lady”)
26a
6
90-92
Guillaume de Machaut, Three Virelais: En mon cuer (“In my heart”)
26b
6
90-92
Guillaume de Machaut, Three Virelais: Tres bonne et belle (“Very good and
beautiful lady”)
26c
6
90-92
Guillaume de Machaut, Rose, liz (“Rose, lily”)
27
6
90-92
Guillaume de Machaut, Messe de Nostre Dame (Mass of Our Lady), Kyrie
28
6
92
Philippus de Caserta, En remirant (“While admiring”)
29
6
92
Solage, Fumeux fume (“A smoker smokes”)
30
6
92-94
Jacopo da Bologna, Two Settings of Osellecto selvaggio (“A wild bird”):
Madrigal
31a
6
92-94
Jacopo da Bologna, Two Settings of Osellecto selvaggio (“A wild bird”):
Caccia
31b
6
92-96
Francesco Landini, Non avrà ma’ pieta (“My lady will never have on pity
me”)
32
6
92-93, 99
Johannes Ciconia, Doctorum Principem/Melodia Suavissima/
VIR MITIS
33
7
105-7
Guillaume Du Fay, Nuper rosarum flores/TERRIBILIS EST
LOCUS ISTE
34
6
98
Anonymous, Sumer is icumen in (“Summer has come”)
35
6
98
Anonymous, Thomas gemma Cantuariae/Thomas cesus in Doveria
36
7
103-4
John Dunstable, Quam pulchra es
37
7
105-7
Guillaume Du Fay, Ave maris stella
38
7
108
Gilles Binchois, Deuil angoisseux (“Anguished grief ”)
39
8
107
Anonymous, Missa Caput, Kyrie
40
8
112-15
Johannes Ockeghem, Missa Caput, Kyrie
41
7
114-15
Antoine Busnoys, Missa L’homme armé: Sanctus
42a
7
114-15
Antoine Busnoys, Missa L’homme armé: Agnus Dei
42b
8
114-15
Philippe Basiron, Salve regina
43
8
114-15
Loyset Compère, Ave Maria
44
8
112-14
Johannes Ockeghem, Ma bouche rit (“My mouth laughs”)
45
8
114-15
Johannes Ghiselin, La Alfonsina
46
8
115-17
Josquin des Prez, Ave Maria . . . virgo serena
47
8
117
Antoine de Févin, Missa super Ave Maria, Kyrie
48
8
115-17
Josquin des Prez, Benedicta es
49
8
118-19
Adrian Willaert, Benedicta es
50
10
149-50
Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (Mass of Pope
Marcellus), Kyrie, Gloria, Credo
51
10, 11
149-50
Giovanni Pierluigi de Palestrina, Tui sunt caeli
52
10
148
William Byrd, two settings of the Agnus Dei: The Mass in Four Parts
53a
10
148
William Byrd, two settings of the Agnus Dei: The Mass in Five Parts
53b
10
143-46
54
11
161
Johann Walther, Christ lag in Todesbanden (“Christ lay in the bonds of
death”)
Giovanni Gabrieli, In ecclesiis
8
126-29
Marco Cara, Mal un muta per effecto (“One cannot really change”)
56
8
123
Claudin de Sermisy, Tant que vivray (“As long as I live”)
57
10
123
Orlando di Lasso, Four Compositions: Je l’ayme bien (“I love her”)
58a
10
155
Orlando di Lasso, Four Compositions: Matona mia cara (“My lady, my
darling”)
58b
10
125
Orlando di Lasso, Four Compositions: Audite nova (“Hear the news”)
58c
10
150
Orlando di Lasso, Four Compositions: Prophetiae Sibyllarum, Prologue
58
8
127
Jacques Arcadelt, Il bianco e dolce cigno (“The white and sweet swan”)
59
8
128
Cipriano de Rore, Dalle belle contrade d’oriente (“From the fair regions of
the east”)
60
11
153-55
Luca Marenzio, Solo e pensoso (“Alone and thoughtful”)
61
12
174-76
Claudio Monteverdi, Cruda Amarilli (“Cruel Amaryllis”)
62
11
156
Carlo Gesualdo, Moro, lasso (“I shall die, O miserable me”)
63
11
157-59
Thomas Weelkes, As Vesta was from Latmos hill descending
64
12, 13
171-73
Giulio Caccini, Le nuove musiche: “Amarilli, mia bella” (Amaryllis, my
beautiful one”)
65
13
179-80
Jacopo Peri, Le musiche . . . sopra l’Euridice, Excerpt from Scene 2
66
13
13
180-85
184
Claudio Monteverdi, L’Orfeo favola in musica, Act 2
Claudio Monteverdi, L’incoronazione di Poppea (“The Coronation of
Poppea”), Excerpts from Acts 1 and 3
67
68
13
192-93
Girolamo Frescobaldi, Cento partite sopra passacagli, (“A Hundred
Variations on Passacagli”)
69
13
192-93
Samuel Scheidt, Christ lag in Todesbanden (“Christ lay in the bonds of
death”)
70
13
189-90
Heinrich Schütz, Symphoniae sacrae: I, Op. 6, “O quam tu pulchra es” (“O
how beautiful art thou”)
71
13
189-90
72
13
191-92
Heinrich Schütz, Symphoniae sacrae: III, Op. 12, Saul, Saul, was verfolgst du
mich, (“Saul, Saul, why do you persecute me?”)
Giacomo Carissimi, Jephthe, Concluding solo and chorus
13
188
Barbara Strozzi, Lagrime mie (“My tears”)
74
14
197-201
Jean-Baptiste Lully, Atys, Overture and Act 3
75
15, 16
225
Jean-Philippe Rameau, Castor et Pollux, Act 5, Scene 7, arietta
76
14
202-3
Henry Purcell, Dido and Aeneas, Act 3, Conclusion
77
55
73
14
203-6
Alessandro Scarlatti, Andate, o miei sospiri (“Go, oh my sighs”)
78
14
213-15
Arcangelo Corelli, Trio Sonata in G minor, Op. 3, No. 11
79
14
215-18
Antonio Vivaldi, La primavera (“Spring”)
80
14
206-9
81a
15
229-32
Two Chorale Preludes on Durch Adams Fall ist ganz verderbt (“Through
Adam’s Fall We Are Condemned”), Dietrich Buxtehude, BuxWV 183
Two Chorale Preludes on Durch Adams Fall ist ganz verderbt (“Through
Adam’s Fall We Are Condemned”), Johann Sebastian Bach, BWV 637, from
Orgel-Büchlein
15
230
Johann Sebastian Bach, Fugue in G minor
82
15
232-33
Johann Sebastian Bach, Das wohltemperirte Clavier (“The Well-Tempered
Keyboard”), Book 1: Prelude No. 1 in C
83a
15
232-33
Johann Sebastian Bach, Das wohltemperirte Clavier (“The Well-Tempered
Keyboard”), Book 1: Fugue No. 24 in B minor
83b
15
232-33
Johann Sebastian Bach, French Suite No. 5 in G
84
14, 16
211-13
François Couperin, Le rossignol en amour and Rossignol double
85
15
232-33
Johann Sebastian Bach, Brandenburg Concerto No. 5 in D
86
15
221-22
George Frideric Handel, Giulio Cesare in Egitto, Act 1, Scene 3, “Empio, dirò,
tu sei” (“Evil you are, I say”)
87
15
225-26
George Frideric Handel, Israel in Egypt, Selections from Part 2
88
15
221-22
George Frideric Handel, an example of self-borrowing: No, di voi non vo’
fidarmi, Movement 1
89a
15
225-26
George Frideric Handel, an example of self-borrowing: Messiah, Part 1, “For
unto us a Child is born”
89b
15
230, 23335
Johann Sebastian Bach, Christ lag in Todesbanden,
(“Christ lay in the bonds of death”)
90
15
233-35
Johann Sebastian Bach, St. Matthew Passion, Opening Chorus
91
16
242-43,
249-50
242-43,
249-50
Domenico Scarlatti, Two Keyboard Sonatas: Sonata in G, K. 105
92a
Domenico Scarlatti, Two Keyboard Sonatas: Sonata in F minor, K. 481
92b
16
81b