Richard Freedman is John C. Whitehead Professor of Humanities at Haverford College. His writings include a book, The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France, and articles in numerous publications, including The Musical Quarterly, Music and Letters, and The New Grove Dictionary of Music. He is the recipient of grants from the National Endowment for the Humanities, the American Council of Learned Societies, and the Mellon Foundation. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

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• Part I: Beginnings 1. Music and the Cultures of the Renaissance2. Learning to Be a MusicianPart II: Before 15003. Music at Court and a Songbook for Beatrice4. Piety, Devotion, and Ceremony5. Structures and Symbols in Cantus Firmus and CanonPart III: Around 15006. Number, Medicine, and Magic7. Music and the Ideal Courtier8. Josquin des Prez and the "Perfect Art"9. Scribes, Printers, and OwnersPart IV: After 150010. Music and the Literary Imagination11. Music and the Crisis of Belief12. The Arts of Improvisation, Embellishment, and Variation13. Empire, Exploration, and Encounter14. Tradition and Innovation around 1600