CONTENTS

Annie Coeurdevey, Introduction. . . . . . . . . . . . . . . . . . . 3
Anne-Emmanuelle Ceulemans, Dahlhaus and the origins of the tone harmonic. . . . . . . . . . . . 7
Mathilde Catz, chromatic and modal constraints in the last madrigals of Gesualdo. . . . . . . . 21
Bertrand Porot, tonality and modality in the harpsichord pieces of Anglebert: elements for a harmonic analysis. . . . . . . . . 43
Annie Coeurdevey, Avatars of modality: the transition from modal to tonal era French Baroque. . .71
Summaries, Abstracts. . . . . . . . . . . . . . 91