Bibliography  211

———, ed. La Música en la Catedral de Granada en el Siglo XVI. Granada: Fundación

Rodríguez Acosta, 1963.
Lorenzetti, Stefano. “‘Arboream Inspicias Figuram’. Figure e Luoghi di Memoria nel
­Pensiero e nella Pratica Musicale tra Cinque e Seicento”. In Memory and Invention.
Medieval and Renaissance Literature, Art and Music, edited by Anna Maria Busse
Berger and Massimiliano Rossi, 99–150. Firenze: Olschki, 2009.
———. “‘La sventurata musica… sì veloce nel morire.’ Rapporti tra musica e arte della
memoria tra Cinque e Seicento”. Recercare, 14 (2002): 3–30.
Luis López, Carmelo, ed. Estatutos y Ordenanzas de la Iglesia Catedral de Ávila. Ávila:
Gran Duque de Alba, 2004.
Lusitano, Vicente. Introduttione Facilissima e Novissima di Canto Fermo, Figurato,
Contraponto Semplice et in Concerto (Roma, 1553).
Lutz, Rudolf. “The Playing of Partimento: Comprehensive Training for the Composing
and Improvising Interpreter”. In Partimento and Continuo Playing in Theory and
Practice, edited by Dirk Moelants, 113–27. Leuven: Leuven University Press, 2010.
Macchiarella, Ignazio. Il Falsobordone fra tradizione orale e scritta. Lucca: LIM, 1995.
Manuscrit italien de Frottole (1502), facsimilé du Ms de la Bibliothèque nationale, Paris,
rés. Vm7 676. Geneva: Minkoff, 1979.
Marot, Clément and de Bèze, Théodore. Les psaumes en vers français avec leurs mélodies,
fac-similé de l‘Edition genevoise de 1562. Edited by Pierre Pidoux. Genève: Droz, 1986.
Marpurg, Friedrich Wilhelm. Abhandlung von der Fuge. 2 vols. Berlin, 1753–54.
Martin, Henry. Charlie Parker and Thematic Improvisation. Lanham: Scarecrow Press,
1996.
Mayer Brown, Howard. “Emulation, Competition, and Homage: Imitation and Theories
of Imitation in the Renaissance”. Journal of the American Musicological Society 35
(1982): 1–48.
McClintock, Carol, ed. and trans. Readings in the History of Music Performance.
Bloomington: Indiana University Press, 1982.
McGee, Timothy, ed. Improvisation in the Arts of the Middle Ages and Renaissance.
Kalamazoo: Western Michigan University, 2003.
Menke, Johannes. Kontrapunkt I: Die Musik der Renaissance. Laaber: Laaber-Verlag,
2015.
Métoyen, Jean-Baptiste. Ouvrage complet pour l’éducation du serpent, ed. Benny
Sluchin. Paris: Editions Musicales Européennes, 2002.
Miller, Clement A. “The Dodecachordon of Heinrich Glarean”. PhD diss., University of
Michigan, 1950.
Mishkin, Henry G. “Incomplete Notation in Mozart’s Piano Concertos”. The Musical
Quarterly 61/3 (1975): 345–59.
Moelants, Dirk, ed. Improvising Early Music. Collected Writings of the Orpheus Institute,
10. Leuven: Leuven University Press, 2014.
———. Partimento and Continuo Playing in Theory and Practice. Collected Writings of
the Orpheus Institute, 6. Leuven: Leuven University Press, 2010.
Moll, Keven. Counterpoint and Compositional Process in the Time of Dufay: Perspectives
from German Musicology. New York: Garland, 1998.
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: The
­University of Chicago Press, 1996.
Montanos, Francisco de. Arte de Música teórica y práctica. Valladolid, 1592.
Morelli, Arnaldo. “Una Nuova Fonte per la Musica di Ghiselino Danckerts ‘Musico e
Cantore Cappellano della Cappella del Papa’”. Recercare 21 (2009): 75–110.