Preface; List of abbreviations; 1. Aspects of form in Orlando di Lasso's
Magnificat settings James Erb; 2. Orlando di Lasso and Andrea Gabrieli: two
motets and their masses in a Munich choir book from 1564-5 Marie Louise
Göllner; 3. Post-Tridentine liturgical change and functional music: Lasso's
cycle of polyphonic Latin hymns Daniel Zager; 4. The salon as marketplace
in the 1550s: patrons and collectors of Lasso's secular music Donna G.
Cardamone; 5. Lasso's 'Standomi un giorno' and the canzone in the
mid-sixteenth century Mary S. Lewis; 6. Lasso's 'Fertur in conviviis': on
the history of its text and transmission Bernhold Schmid; 7. Orlando di
Lasso and Rome: personal contacts and musical influences Noel O'Regan; 8.
Orlando di Lasso as a model for composition as seen in the three-voice
motets of Jean de Castro Ignace Bossuyt; 9. The madrigal book of Jean
Turnhout (1589) and its relationship to Lasso James Haar; 10. Modal
ordering within Orlando di Lasso's publications Peter Bergquist; 11.
Correct and incorrect accentuation in Lasso's music: on the implied
dependence on the text in classical vocal polyphony Horst Leuchtmann;
General index; Index of Lasso compositions and printed sources.