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contain examples of the organ verso: Antonio de Cabez6n's Obras de miusica of 1578; Manuel Coelho's Flores de M'sica of 1626; and MS 1607 of the Municipal Library of Oporto, Portugal, dated I695. The last is referred to hereafter as by Roque da Conceigao, the name that appears on its title page as that of the compiler, sponsor, or chief scribe. These sources are emphasized because Cabez6n's versos are generally accessible in modern critical editions;' Roque's became familiar to me through a transcription of the entire manuscript that I made a few years ago;2 and Coelho's rather extensive collection of versos, which I have also transcribed, stands in the middle of the development that this paper will attempt to trace.3 The chief interest in this development lies not in stylistic aspects of counterpoint, since these correspond largely to the same aspects of other contrapuntal keyboard music from the same sources and areas. Rather, we shall concern ourselves with the |
