0:58 What was music scene like in the 16th century?
1:27 Who were the most famous musicians in the 16th century?
3:19 What are madrigals?
3:59 Is an Italian madrigal different?
4:19 When was the Renaissance?
4:41 What was the standard form of counterpoint in 1600? Did any a significant theorist shape it?
6:17 Are treatises written often looking backwards?
7:20 How would have composers back then learned music?
8:20 Was their training more focused on improvisation and composition?
9:06 Hexachordal Solfeggio
10:44 Did they use more clefs?
11:36 Locating Fa on Fa Clefs
12:30 Did these think about cadences differently?
13:41 In any of the treatises did they talk about vertical chords?
14:56 What do prima pratica and seconda practica mean?
15:43 What were Artusi’s complaints with Monteverdi?
16:12 How did Artusi get copies of Monteverdi’s music before they were published?
16:47 How did Basso Continuo have an effect on composition when it came on the scene?
18:51 Did anyone criticize Basso Continuo when it appeared for the first time?
19:16 Do we distinguish between accompaniment and counterpoint?
19:50 Did Basso Continue subsequently explode in popularity?
20:25 If there were no figures, how did they interpret scores correctly?
21:03 Do we know how these musicians learned counterpoint?
22:33 Are there any historical counterpoint workbooks available?
23:45 Why was the major 6th considered the harshest interval in the renaissance?
26:28 If someone had absolute pitch, how would that work in the Renaissance?
27:23 Did you have to tune instruments on the fly if you had tunes in different keys?
27:50 Could you give examples of instruments not being able to match the flexibility of the voice in transposition?
29:58 Were these composers really only thinking horizontally and with consonances and dissonances?
30:35 What are some remaining mysteries of music in the Renaissance?
32:12 What are common questions you get about your work and research?
32:49 Is music of this period mainly vocal?
33:10 What pieces of music are required to know in order to get handle of the music of the 16th and 17th century and develop your counterpoint?
33:57 Are you singing syllables or just the notes?
35:25 What do you mean by compositional situations?
36:03 Should students study counterpoint rules from treatises?
36:57 How about the Thomas de Santa Maria treatise?
37:27 Can you learn faster with a master composer?
38:04 Has the art of counterpoint watered down with newer styles?
38:54 Do you feel that there’s different languages of counterpoint for different styles of music?
39:55 How did you compose the Lamentations of David?
40:53 How long did it take you to compose it?
41:24 Were you always a composer?
42:07 Can you describe your experience studying at the Schola Cantorum Basiliensis?
43:34 Wrapping Up