THE SIGNIFICANCE OF POLYPHONY, pp. 65-6
ROMANESQUE DEVELOPMENTS, pp. 67-9
GOTHIC THINKING AND STYLE, pp. 70-2
NOTRE DAME POLYPHONY, pp. 72-6
THE MEDIEVAL MOTET, pp. 76-8
LATE 13TH CENTURY DEVELOPMENTS, pp. 78-80
SYMBOLIC VALUES IN MEDIEVAL POLYPHONY, pp. 81-2

THE INCREASING SECULARIZATION OF CULTURE, pp. 85-7
ARS NOVA, pp. 87-9
ISORHYTHM, p. 89
THE ROMAN DE FAUVEL, pp. 89-91
FORM IN SECULAR SONG, pp. 91-2
GUILLAUME DE MACHAUT, pp. 92-3
THE ARS SUBTILIOR, pp. 93
THE ITALIAN TRECENTO, pp. 94-6
ENGLISH POLYPHONY (Secular Music: Rota), esp. Sumer is Icumen In

Background: HUMANISM & MUSIC, pp. 103-6
THE HUNDRED YEARS WAR & ENGLISH MUSIC, pp. 106-7 (Dunstaple)
Du Fay & Binchois, pp. 109-11

OCKEGHEM, pp. 117-19
JOSQUIN, pp. 119-21
THE ASCENDANCY OF THE NORTHERN STYLE, pp. 121-24

THE BACKGROUND OF THE REFORMATION, pp. 151-2
THE MUSIC OF THE LUTHERAN REFORMATION, pp. 152-3
THE REFORMATION IN ENGLAND (Anglicanism), pp. 155-6
THE COUNTER-REFORMATION (Palestrina, et. al), pp. 157-8
FAITH, MUSIC, AND THE POWER OF WORDS, p. 159