Description The Corpus of Recorded Counterpoint Examples (CRCE), vol. 4: Vicente Lusitano — 14 Concerted Counterpoint Examples (Vol. 2) presents instrumental recordings of the concerted counterpoint examples transmitted in the second chapter of Vicente Lusitano’s Libro segundo in his counterpoint treatise (F-Pn Esp. 219). The recordings form part of the multi-volume Corpus of Recorded Counterpoint Examples (CRCE), a research dataset documenting historically informed realisations of counterpoint examples preserved in Renaissance music theory treatises. Within the CRCE series, Lusitano’s examples are distributed across four separate volumes owing to their scale and internal organisation. Contents This dataset contains the complete set of recordings corresponding to the concerted counterpoint examples transmitted in the second chapter of Lusitano’s Libro segundo. Audio files are provided in both FLAC and MP3 formats and are accompanied by a volume-specific metadata file describing the musical, analytical, and editorial characteristics of each example. The recordings may be consulted both as standalone analytical materials and through several complementary modes of access within the broader CRCE framework. Treatise-specific contextualisation is provided through the companion site: https://lusitano.improvisedcounterpoint.com — Vicente Lusitano, [Trattado grande de musica pratica] (F-Pn Esp. 219, ca. 1550) Further companion sites forming part of the same research corpus include: https://aranda.improvisedcounterpoint.com — Mateo de Aranda, Tractado de canto llano: y contrapunto (1535) Corpus-level navigation and listening are supported through: https://improvisedcounterpoint.com/recordings/listen — volume-based listening interface https://improvisedcounterpoint.com/search — corpus-level analytical navigation and playback environment These interfaces provide structured access to the recordings in alignment with the metadata model and analytical organisation of the corpus. Corpus context The concerted counterpoint examples preserved in Lusitano’s treatise represent some of the most substantial documentary evidence for coordinated multi-voice improvisation in Renaissance polyphonic practice. These examples illustrate a wide range of ensemble configurations, from three-voice textures to an exceptional five-voice setting, and demonstrate the high level of aural coordination and contrapuntal fluency required for collective improvisation. The CRCE documents historically informed instrumental realisations of counterpoint examples preserved in Renaissance theoretical sources, including treatises by Mateo de Aranda, Melchor de Torres, and Vicente Lusitano. Together, these recordings support research on historical improvisation, contrapuntal pedagogy, and the aural-procedural foundations of Renaissance polyphony. The corpus forms part of the Improvised Counterpoint Sources and Corpora community on Zenodo, which brings together digital corpora of primary sources and related audio datasets within a unified research framework. Research framework The recordings were produced by Vicente Parrilla as part of the doctoral research project Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations, carried out at KU Leuven / LUCA School of Arts (docARTES programme) with the support of a PhD Fellowship from the Research Foundation – Flanders (FWO, project no. 11A9922N). Related dataset Metadata, technical documentation, and corpus-wide information are provided in: Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overviewhttps://doi.org/10.5281/zenodo.18648158 Project website Further information, related publications, and additional resources are available at:https://improvisedcounterpoint.com