Music Treatises in the Conservatory Special Collections

Facsimile of Sebastian Virdung's 1511 Musica getutscht, which was the first printed work in the west dealing exclusively with musical instruments. The work sought to provide basic instruction for playing instruments used for art music in German-speaking lands at the turn of the sixteenth century. It proved to be highly influential, inspiring several translations and adaptations.

Published in 1529 (with reprints in 1530, 1532 and 1542, and a full revision in 1545) is a German adaptation and expansion of Virdung's Musica getutscht.

Originally commissioned as a Latin translation of Virdung, but it evolved into more of an adaptation than a strict translation. It was completed around 1517 but not published until 1536, with a reprint in 1542.

The most notable contribution of Dodekachordon is its addition of four new modes - including Ionian and Aeolian - to the eight medieval modes. It is also valuable as a musical anthology, containing over 120 compositions.

One of the most important works of music theory. It unites speculative theory with the practice of composition and outlines a modern theory of consonance and tuning that accounts for the use of thirds and sixths. The work draws upon Glarean's modal system without naming him as its author.

First published in 1523 (with reprints in 1529, 1539, 1557, and 1562), this work contributes to Aaron's broader project of applying the standard teachings on mode, counterpoint and musica ficta to contemporary music. Toscanello also presents the earliest known description of meantone temperament.

This work, by a little-known Italian Renaissance philosopher and lawyer, discusses music's traditional place among the seven basic liberal arts.

Containing eighteen engravings that depict musical events from the Bible, Encomium musices is one of the high points of musical iconography.

Represents the conservative theoretical approach associated with Cerreto, which included a rejection of Glarean's twelve-mode system and an adherence to a strict osservato counterpoint.

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

Written in Latin and German, this work is widely regarded as the single most important music treatise of the pre-Classical period.

Represents an early sketch of Mersenne's work on music theory that would achieve a more complete expression two years later in Harmonie universelle.

Latin version of Mersenne's monumental encyclopedia, which contains his most developed thoughts on music.

Among the most influential of all music treatises. It presents a summation of 16th and 17th century Italian and German compositional practices.

Written in 1618 and first published in 1650. Translations and revised editions appeared in 1653, 1656, 1661, 1668, and 1695. It is noteworthy as an early experiment in the application of an empirical, deductive, scientific approach to the study of sensory perception. It is also among the earliest attempts to study the relationship between the physical and psychological phenomena in music.

First printed in 1654, the work went through twenty editions, the last being in 1730. Oberlin's copy is the third edition from 1660. Brief introduction is broadly regarded as the most significant English theoretical treatise of the late 17th century.

Templum musicum comprises the musical portion (part VI) of Alsted's Elementale mathematicum from 1611.

Among the most quoted English language music treatises of the 17th century. It is a conservative defense of the English style that, Mace believed, had reached its zenith in the early 17th century.