ABSTRACT
EDITOR'S PREFACE: This study arguably represents the single most important contribution of the modern era to the analysis and interpretation of compositional styles in late medieval polyphony. For it is here that certain basic contrapuntal techniques of the fourteenth and fifteenth centuries were first defined in unambiguous terms and illustrated through actual surviving compositions. In the original article, specific musical works are often identified only by their page reference in one or another modern edition. In order to distinguish these pieces more precisely, I have broadened the citations considerably and provided titles or text incipits for them.
