cluded sinfonias and concertos, including the concerto grosso.
             The medieval musical experience is impossible to recapture, for most of the music of daily life is lost to us. The sounds of street hawkers, the songs sung in the fields to lighten the tedium of labor, the dances that accompanied so many festivities, much of the music intended for the stage, and even the musical component of many troubadour songs have proven ephemeral. Even the music that 'survives' does so in a fashion that leaves unanswered fundamental questions about how it originally sounded. The medieval musician, professional or amateur, expected to improvise, adding and changing musical materials as he or she performed a piece. The kind of instrument or voice to be used, the pitches in the melody, the kind of accompaniment if any might vary from one time to the next, as might the tempo, the volume, or even the rhythm. Medieval notation can be frustratingly vague for the modern scholar attempting to reconstruct a plausible and historically informed medieval sound. Yet the music that does survive forms a sumptuous legacy, ranging from the sacred to the
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