FOR AID in preparing the present resume of Spanish music to 1530 I am indebted to so numerous a company of friends that I must content myself in this preface with no more than a token alphabetical list. In an earlier article - "Music Research in Spanish Libraries," published in Notes of the Music Library Association, sec. ser. X, i (December, 1952, pp. 49-57) - Richard Hill did kindly allow me to itemize my indebtednesses to the Spanish friends whose names make up two-thirds of the following list. The reader who has seen that article already knows how keenly felt are my gracias. Fernando Aguilar Escrich, Norberto Almandoz, H.K. Andrews, Higinio Angles, Jesus Bal y Gay, Robert D. Barton, Gilbert Chase, R. Thurston Dart, Exmos. Sres. Duques de Medinaceli, Charles Warren Fox, Nicold, s Garcia,]ulidn Garcia Blanco, Juan Miguel Garcia Perez, Santiaga Gonzdlez Alvarez, Francisco Guerrero, Perreal Herndndez, Ma cario Santiaga Kastner, Adele Kibre, Edmund King, Luisa de Larramendi, Pedro Longds Bartibds, M arques de Santo Domingo, M arques de Villa-Alcdzar, J uan M ontejano Chico, B. Municio Crist6bal, Ricardo Nuiiez, Clara L. Penney, Carmen Perez-Ddvila, Gustave Reese, Francisco Ribera Recio, Bernard Rose, Samuel Rubio, Adolfo Salazar, Francisco Sdnchez, Graciela Sdnchez Cerro, Manuel Sdnchez Mora, Alfredo Sixto Planas, Denis Stevens, fase Subird, Earl 0. Titus,]. B. Trend,]ahn Ward, Ruth Watanabe,]. A. Westrup, Franktin Zimmerman

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He moves on from this to set Penalosa's work, written in a more mature, northern-oriented style which influenced Iberian composers for generations after his death."--BOOK JACKET.

This entirely new volume of NOHM takes account of developments in late-medieval music scholarship, along with significant changes in the performance practice of the late-medieval repertory, witnessed during the latter half of the 20th century.

This is a complete revision of the second edition, designed as a guide and resource in the study of music from the earliest times through the Renaissance period. The authors have completely revised and updated the bibliographies; in general they are limited to English language sources. In order to facilitate study of this period and to use materials efficiently, references to facsimiles, monumental editions, complete composers' works and specialized anthologies are given. The authors present this systematic organization in this volume in the hope that students, teachers, and performers may find in it a ready tool for developing a comprehensive understanding of the music of this period.