[288]. In Baroque music the word “imitation” means something quite different from this, viz., the exact repetition of a motive in a new colouring (starting from a different note of the scale).
[289]. For all that survives performance is the notes, and these speak only to one who still knows and can manage the tone and technique of the expression-means appropriate to them.
[290]. See articles Fauxbourdon, Discant and Gimel in Grove’s “Dictionary of Music.”—Tr.
[291]. Note that Oresme was a contemporary of Machault and Philippe de Vitry, in whose generation the rules and prohibitions of strict counterpoint were definitively established.
[292]. See p. [19] and Vol. II, p. 357.
[293]. Even the first great troubadour, Guilhem of Poitiers, though a reigning sovereign, made it his ambition to be regarded as a “professional,” as we should say.—Tr.
[294]. See also Vol. II, p. 365.
[296]. A movement in sonata form consists essentially of (a) First Subject; (b) Second Subject (in an allied key); (c) Working-out, or free development of the themes grouped under (a) and (b); and (d) Recapitulation, in which the two subjects are repeated in the key of the tonic.
The English usage is to consider (a) and (b) with the bridge or modulation connecting them, together as the “Exposition,” and the form is consequently designated “three-part.”—Tr.