2. Gioseffo Zarlino, On the Modes, Part Four of Le Istitutioni harmoniche, 1558, trans. Vered Cohen (New Haven: Yale University Press, 1983), p. 83. For Zarlino's theory of counterpoint, see The Art of Counterpoint, Part Three of Le Istitutioni harmoniche, 1558, trans. Guy A. Marco and Claude Palisca (New York: Norton, 1968).
3. On this topic, see R. Crocker, "Perche Zarlino," cited in footnote 1.
4. Heinrich Glarean, Dodecachordon, trans. Clement Miller (American Institute of Musicology, 1965), pp. 103-205; 247-270. Thus, when Dr. Pike argues that "notes were known by their solmization names rather than by letters (though sometimes a letter-name for a note was prefixed--E la mi, or A la mi re, for example)," he disregards those theorists who customarily refer to diatonic species and/or individual pitches with letters only. See, for example, the widely influential Lucidarium of Marchetto of Padua (ca. 1317), Johannes Ciconia's Nova musica (ca. 1410), Johannes Gallicus' Ritus canendi (ca. 1460), in addition to the works by Zarlino and Glareanus mentioned above.
5. See Cristle Collins Judd, "Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500," Journal of the American Musicological Society 45.3 (1992): 428-467.
6. These parts carry the titles "Treating of Descant" and "Treating of Composing or Setting of Songs."
7. Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1597), edited by Alec Harman with a foreword by Thurston Dart (London: Norton, 1973), p. 104.
8. Hucbald, Guido, and John on Music: Three Medieval Treatises, trans. Warren Babb, ed. with introduction by Claude V. Palisca (New Haven: Yale University Press, 1978), p. 65.
9. Zarlino, The Art of Counterpoint, pp. 69-70 [emphasis mine].
End of Footnotes