Special Collections / Music Treatises

RISM B/VI, v. 1, pp. 70–41. Published in 1529 (and reprinted in 1530, 1532, and 1542, and revised in 1545), this work concerning musica instrumentalis, as distinct from musica plana and musica figuralis, was modeled both in its text and woodcut imagery on Sebastian Virdung (c. 1465 – after 1511), Musica getutscht (Basel, M. Furter, 1511). Like Virdung, Agricola presented his text in the vernacular rather than Latin.

In 1510, Luscinius met Sebastian Virdung (b.1465) at the Reichstag in Augsburg. Eight years later he completed this work of music theory which, like that by Agricola, is indebted to Virdung, Musica getutscht (Basel, 1511). Here the text is given in scholastic Latin, unlike Virdung’s vernacular, and is illustrated with numerous woodcuts of instruments.

RISM B/VI, v. 1, p. 366. TML GLADOD1, GLADOD2, GLADOD3. Spanning three books, this work presents a systematic theory of twelve modes. In addition to the authentic and plagal modes with finals D, E, F, G, described by medieval music theorists, Glarean also defined modes with finals on C and A.

RISM B/VI, v. 2, pp. 907–8. Celebrated for bringing together speculative theory and practical music composition, this work presented a mathematical basis for a theory of imperfect consonances (thirds and sixths) as ‘sweet’ sonorities as found in contemporary part-writing. Given in Italian rather than Latin, this vernacular text is widely considered a model of humanistic writing.

RISM B/VI, v. 1, pp. 97–8. Published in 1523 (and reprinted in 1529, 1539, 1557, and 1562), this work developed through correspondence between Aaron and theorist Giovanni Sparato, shown in surviving letters. Along with Zarlino, Aaron is counted among the early writers of music theory in Italian.

RISM B/VI, v. 2, p. 537. This work, by a lesser-known Italian Renaissance philosopher and lawyer, places music within the seven basic liberal arts. The allegorical figure of Music was used for the catalog of the private collection of Frederick R. Selch.

This work is neither a treatise on music nor notated music. Its sixteen numbered engravings depict scenes of music-making from biblical scenes and on theological themes. The engravings were executed by Adriaen Collaert and Théodore Galle after designs by Jan van der Straet, with Latin verses composed by Joannes Bochius.