Welcome to AllaireFictaMusic.com
The Website Dedicated to The Research of Gaston Allaire, Ph.D.

Dedicated to the pursuit of knowledge in the development of
modal polyphony through the Middle Ages and the Renaissance


    "Note to my paper 'Two Hidden Canons in the Theoretical Notions in the Polyphony of the Renaissance'" forthcoming in International Journal of Musicology, Vol. 9.

    "The Forgotten Art of Modulation in Renaissance Polyphony" in Revue Belge de Musicologie [RBM], LVII (2003), p. 5-58.

    "Two Hidden Canons in the Theoretical Notions of Notation in the Polyphony of the Renaissance" in IJM, Vol. 8, (1999)[2002], p. 93-115.

    "Die Notation vokaler und instrumentaler Mehrstimmigkeit vor 1600 Voraussetzungen und Konsequenzen einer strukturellen Analyse"in Die Musikforschung 54/4 (2000), p. 361-377; translation of a paper in English, by the editor Prof. Dr. Christian Berger.

    "A Sample of Hexachordal-Modal Analysis for Vocal and Instrumental Polyphony of the Renaissance" in Musica Disciplina, XLVIII (1994) [1998], p. 259-283.

    "Performance Practice Idiosyncracies of the Modes of the Fa-fa and Ut-sol Fifth Species in pre-1600 polyphony" in RBM, LI (1997), p. 63-81.

    "Debunking the Myth of Musica Ficta" in Tijdschrift Verenigen voor Nederlandse Muziekgeschiedenis, XLV/2 (1995), p.110-127.

    "Rediscovering Modulations in the Secular and Sacred Works of Palestrina" in Recercare Rivista [per lo studio et la practica della musica antica], (1995), p. 1-34.

    "Some Overlooked Modulations in the Works of Josquin des Prés?" in RBM, XLVI (1992), p. 33-53.

"A Theoretical Analysis of the Modulations in the Kyrie Sections of the Masses Mi-mi by Johannes Ockeghem and Mattheus Pipelare", in Journal of the Science and Practice of Music, No. 4, The Music Research Center, Hanying University, Korea, (1987-1988), p. 19-56

    "Preface" to the edition of the modern transcription of the works of Claudin de Sermisy (1490?-1562), Missa II, by the American Institute of Musicology, (1986), p. IX-XX.   

    "Projet de recherche sur la théorie de la musique du Moyen Age et de la Renaissance", Revue de l'Université de Moncton, 15/1 (1982), p. 119-130.

    "Les énigmes de l'Antefana et du double hoquet de Machault: une tentative de solution", in Revue de Musicologie, (Paris, 1981, 66/1), p. 22-57.

    "Des dièses et des bémols dans les modes transposés de la musique de la Renaissance", in CAUSM Journal de l'ACEUM, IX/2 (1981), P. 1-14.[Canadian Association of University Schools of Music/Association Canadienne Ecoles Universitaires de Musique]

    "Les sensibles haussées dans la musique polyphonique avant 1600", in CAUSM Journal de l"ACEUM, IX/1 (1979), p. 48-73.

    "L'apport de la typographie et de la musique à la poésie française du début du seizième siècle", dans Renaissance and/et Réforme, (1978), XIV/2. p. 127-141.

    "Peculiar Signatures in 14th, 15th, and 16th-Century Sources", in CAUSM Journal de l'ACEUM, VII, (1977), p.52-91.

   The Theory of Hexachords, Solmization and the Modal System: A Practical Application, MSD 24, American Insitute of Musicology (Rome, 1972), 165 pages.

    "L'essor de l'imprimerie musicale en France sous François Ier", dans La Revue de l'Université de Moncton, II, (1969), No. 3.    

   "La rythmique de notre langue parlée" La Revue de l'Université de Moncton, (1968), ?; reprint in Educational Review (New Brunswick Teachers Association), Vol. 83, No. 2 (1969)

   "Les Messes de Claudin de Sermisy", in Revue de Musicologie, (Paris, 1967),53/1 p. 28-40.

    "Francis I and the Polyphonic Chanson of the French Renaissance", The Boston University Graduate Journal, (April-1958), ? .

    "Poet-Musicians and Musician-Poets of the French Renaissance", The Boston University Graduate Journal, V/8 (April-1957), p. 121-124.