1. Fifteenth-century northern book painting and the a cappella question: an essay in iconographic method James W. McKinnon; 2. The visualisation of music through pictorial imagery and notation in late mediaeval France Tilman Seebass; 3. The trecento harp Howard Mayer Brown; 4. The 'reconstruction' of instrumental music: the interpretation of the earliest practical sources Wulf Arlt; 5. Mimesis and woodwind articulation in the fourteenth century Margaret Paine Hasselman and David McGown; 6. Specific information on the ensembles for composed polyphony, 1400-1474 David Fallows; 7. The performing ensemble for English church polyphony, c. 1320-c. 1390 Roger Bowers; 8. Some evidence for French influence in northern Italy, c. 1400 Anne Hallmark; 9. Parts with words and without words: the evidence for multiple texts in fifteenth-century Masses Alejandro Enrique Planchart; 10. Fourteenth-century music with texts revealing performance practice Ursula Gunther.
1. Fifteenth-century northern book painting and the a cappella question: an essay in iconographic method James W. McKinnon; 2. The visualisation of music through pictorial imagery and notation in late mediaeval France Tilman Seebass; 3. The trecento harp Howard Mayer Brown; 4. The 'reconstruction' of instrumental music: the interpretation of the earliest practical sources Wulf Arlt; 5. Mimesis and woodwind articulation in the fourteenth century Margaret Paine Hasselman and David McGown; 6. Specific information on the ensembles for composed polyphony, 1400-1474 David Fallows; 7. The performing ensemble for English church polyphony, c. 1320-c. 1390 Roger Bowers; 8. Some evidence for French influence in northern Italy, c. 1400 Anne Hallmark; 9. Parts with words and without words: the evidence for multiple texts in fifteenth-century Masses Alejandro Enrique Planchart; 10. Fourteenth-century music with texts revealing performance practice Ursula Gunther.
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