Special Collections / Music Treatises

This work was the first significant treatise on music in the English language. First published in 1597, new editions were produced in 1608 and 1771.

The most important English work on the viola da gamba.

First printed in 1654, the work went through twenty editions, the last being in 1730. In addition to being broadly regarded as the most significant English theoretical treatise of the late 17th century, Brief introduction also contains practical instructions for performing on the bass viol and the treble violin.

Templum musicum comprises part 6 of Alsted, Elementale mathematicum (1611).

Musick’s monument is among the most quoted English language music treatises of the 17th century. It includes instructions for playing lute, viol, and organ.

[14] 144 p., 80 leaves. front. (port.) illus. (music) tables. 18 cm. (8vo). Engraved portrait; contemporary sheep. Contents: 1. The rudiments of song — 2. The principles of composition — 3. The use of discords — 4. The form of figurate descant — 5. The contrivance of cannon.

xxiii, 608 p. 20 cm. “An ode on the power of musick, inscrib’d to Mr. Malcolm ... by Mr. Mitchell”: p. [iii]–xvi.

48 p. of music: 2 plates (one folded, one ms.); 26 cm. Part 4 of Peter Prelleur, The modern musick-master (1730).

Includes a basic set of instruction manuals for voice, recorder [flute], flute [German flute], oboe, violin, and harpsichord.

This volume constitutes part five of Prelleur’s The modern musick-master (1730) which paraphrases Nolens volens (1695).

[202] pages: folded plates, diagrams; 20 cm.
Paging irregularity: the “Rules for a thorow-bass” begins on p. 159 (p. 157–158 do not exist) with the last-numbered page in sequence p. 203; followed by two additional pages, numbered 42 and 43, followed by “Rules for tuning a harpsicord or spinet” on final page, numbered 206.

A brief instruction book for playing the recorder, which was called the flute at that time.

This work was one of the first to be written for non-amateur performers. Along with Mozart’s Violinschule (1756), it is the most important source for violin performance practice of the first half of the 18th century. Geminiani famously opposed Mozart on several issues, including bow hold, use of vibrato, and the so-called "rule of the down-bow", which states that the first beat of every bar must be played with a down-stroke.

A reworking of Prelleur, Modern musick-master, divided into parts: a collection of English and Italian songs, instructions for voice and several instruments, a music dictionary, and a collection of songs from the British Isles.

The work was first published in 1746, and the third edition in 1756. In four books, it includes instructions for organ, harpsichord, bass-viol, violin, oboe, flute, and bassoon. It also includes instructions in music theory and a dictionary of important musical terms.

The text, p. 1–9, is a slight revision of Peter Prelleur’s
paraphrase (published as pt. 5 of his Modern musick-master, London, 1730)—of Nolens Volens, London, 1695. Engraved throughout. “A dictionary explaining such Greek, Latin, Italian and French words, as generally occur in music”: p. 35.

One of the first tutors for the cello, the work contains the earliest reference to using a wooden peg (the endpin) as a learning aid to support the cello while seated.

Based on a simplified version of Geminiani’s Art of playing on the violin, this tutor was intended for children or young beginners. This copy of the first edition is bound with Geminiani, Rules for playing in a true taste (1748) and Art of playing on the violin (1751).

This work is an English translation of Tessarini, Grammatica di musica (1741). When initially published, Grammatica di musica was the first Italian violin method, a predecessor to Geminiani, Art of playing on the violin (1751).

1 p.l., vi, 90 p. front. (port.) illus. (music, diagrs.) table. 28 cm. Lettered on back: 1775.

French horn tutor, based on the over-the-shoulder position popular in the late 18th century.

2 preliminary leaves, 290, [1] pages xix folded plates 21 cm. Plate VIII incorrectly numbered XVIII. Colophon: printed by Macfarquhar and Elliot, Edinburgh, 1781. Indexed in English short title catalogue (ESTC) T90351.

1 p. 1., 32 p. front. 25 cm. (obl. 4to). Punch-bound wrappers.

Includes brief instructions for playing keyboard, organ, violoncello, guitar, flute, trumpet, and many other instruments.

1 score (4 volumes in 1); 17 cm. Single-line melodies; most with words. Title from vol. 1; additional t.p. for vol. 1, identical with vols. 2–4. Each vol. with table of contents; includes comprehensive table of contents at front. Watermark: 1794 (on end sheet).

The first comprehensive American tutor for musical instruments, including the violin, flute, clarinet, bass viol, and oboe.

The first distinct instruction book for the clarinet published in the United States, written for clarinet in C.

The work was intended for amateurs and primarily quotes Prelleur, The art of playing on the violin (1730), Geminiani, Art of playing on the violin (1751), and Philpot, An introduction to the art of playing on the violin (1767).

31, [1] p. of music; 23 cm.

One of the earliest known American works containing drum lessons.

This work includes a 36-page section on cello fingering that attempts to establish a simple and uniform approach.

47 p. 23 cm. Rev. and enl.

This was one of a group of experimental instruments that were popular in England and France at the beginning of the 19th century.

An early American method book for percussion instruments.

Written as a dialogue between a fictitious master and pupil, the work contains instructions on shifting, bowing, intonation, and transposition.

No. 1[–10] of C. Nicholson’s Preceptive lessons for the flute. 2 v. of music in 1: port., ill.; 35 cm.

This treatise for the performance of musical glasses is written in the form of a dialogue between the author and a student.

1 score ([2] volumes); 25 cm. Pages: vol. [1], misnumbered as: [cover as p. 1–2], [3], 4–12; [1] (price list); 5–46; vol. 2, 47–83, [84]. “Prices.”—p. [13]. Gives purchase prices for harmonicons. Contemporary wrappers, side-stiched; laid in single preservation container. Includes index of tunes, p. 83–[84]. Title on vol. 2: Grand harmonicon, or musical glasses.

Includes instructions for flute, clarinet, bassoon, serpent, French horn, trumpet, oboe, violin, viola, bass-viol or violoncello, double bass, trombone, cymbals, tambourine, triangle, and bass-drum.

3 p. 1., [v]-vi p., 1 ℓ., [9]-96 p., 1 ℓ. : ill, music; 34 cm. Added title-page, engraved.

Written while Hanks was active in Cleveland, Ohio, this violin method contains introductory instructions intended for amateurs. It quotes works by Spohr, Baillot, Rode, and Kreutzer.

64 p.

This work, the first of twenty-three violin methods for amateurs by Winner, circulated widely in the United States in the nineteenth century.

105 p.: ill.; 15 cm. Cover title: Tilton’s patent improvement. “Including a sketch of the different experiments that have successively been made in its construction, and a full explanation of the character and merits of Tilton & Co.’s patent improvement which can be attached to the instruments of any other maker.”

This pamphlet on the history of the flute draws on contemporary writings on the subject and reports on the then-recent improvements made to the instrument by Theobald Boehm; Badger was the first American maker of the improved flute.

64 p.

96 p.: ill., music; 19 cm. “New edition with appendix containing Czerny’s Letters to a young lady”—Cover.

103 p.: music; 19 cm.

165 p. of music; 31 cm. “Foreign fingering”—Cover.

192 p.: ill.; 20 cm. The Schumann and Czerny translated from the German.

2 preliminary leaves, [3]–69, [1], 16 pages; 33 cm. Includes 2 engravings: “Correct position of the hands” and “Correct position of the body”—p. [1]. Gift of the Lorain County Historical Society (03-19-59); boards, cloth spine.

vii, 70 pages: illustrations (some color), photographs; 25 cm. Contents: General features and construction — Intonation and fretting — Tuning — Practice and modes of play — Some eminent Vainikas — The secret of veena play.