DavidFP <davidparea-recmusicearly@yahoo.com> wrote: I hadn't taken any special precautions to make it work well with links, so I can't take any credit for it. Just lucky. Now that I know you are using links, I'll try to keep my html simple. Thank you for appreciating the advantages of accessibility. I might add that from my perspective, as long as a page is accessible with links, I

Margaret Hasselman <mhasselm@vt.edu> wrote: At the final cadence of the piece (the final REAL cadence, although there may be a bit of a coda following that cadence and often is, and I'm defining renaissance cadences in polyphony as 2-voice cadences), one voice will descend by step to the final of the mode. That voice is functionally the "tenor" whether or not it has quoted

John Howell wrote: At the final cadence of the piece (the final REAL cadence, although there may be a bit of a coda following that cadence and often is, and I'm defining renaissance cadences in polyphony as 2-voice cadences), one voice will descend by step to the final of the mode. That voice is functionally the "tenor" whether or not it has quoted an existing chant or secular

At 12:36 PM -0700 4/3/07, David Wake wrote: I'm interested in Tallis's motet "O nata lux de lumine". There's a score here which I'll use for reference: http://www.cpdl.org/wiki/images/2/2f/Tallis.pdf I'm interested in some of the musica ficta practices that seem to have become traditional in this piece. I'd really appreciate the advice of anyone with expertise in this area. First