The name of P. Samuel Rubio is known to students of Renaissance polyphony for his scholarly articles in learned periodicals, his editorship of different collections of sacred polyphony, and through his edition of the motets of Victory – Tom s Luis de Victoria, Motetes, Vols. 1-4 (union Musical Espa ola, Madrid – 1964). Text books – in English – on the subject of sixteenth-century counterpoint are numerous and excellent; but none discusses the classical polyphonic style with quite the understanding affection that Father Rubio brings to this task. His treatment of notation, time-signatures, the modes, chromatic alteration, is supported by opposite quotation from sixteenth-century authorities and his discussion of form and texture are based on a knowledge derived from wide experience in performance as well as close analytical study.