[86] It is in Walter Odington’s treatise that the first mention of duple metre is made.
[87] Similar intervals occurring between two voices that pass from one chord to another in parallel motion.
[88] A sequence of chords at the end of a phrase or period, involving, in modern music, a clear enunciation of the tonality or key in which the piece is written. Full, perfect, complete or authentic cadence is the dominant harmony in root position followed by that of the tonic in root position. This kind of cadence is comparable to a period. A half cadence is a less definite closing, used for phrases not final.
[89] W. S. Rockstro, in Grove’s Dictionary, III, 259.
[90] Quoted from an extant letter of Philip of Luxembourg to the Chapter at Cambrai.
[91] ‘Dufay and His Contemporaries.’
[92] Grove: ‘Dict. of Music and Musicians.’
[93] ‘Early English Harmony’; Vol. I edited by H. E. Wooldridge, 1897; Vol. II edited by Rev. H. V. Hughes, 1913.
[94] See Chapter X.
[95] The form Ockenheim was introduced by Glarean, apparently without sufficient reason. It is supposed that Okeghem was born about 1430.