HoT General Bibliography

Visit and add to our work in progress on the public Google Doc here:

 

Working Bibliography

De musicis: An Annotated Bibliography of Works on Ancient Greek and Roman Music (MOISA)

Thesaurus musicarum Latinarum

Lexicon musicum Latinum medii aevi

Les sources manuscrites de la théorie de la musique

Primary sources: theorists (selected)

Aegidius de Murino. Tractatus cantus mensurabilis. Scriptorum de musica medii aevi nova series a Gerbertina altera, 3, 124–128, ed. Edmond de Coussemaker. Paris: Durand, 1864–1876.

Anonymous of St. Emmeram. De musica mensurata: the Anonymous of St. Emmeram, complete critical edition, translation, and commentary. Ed. and trans. Jeremy Yudkin. Bloomington: Indiana University Press, 1990.

Anonymous 4. Die Musiktraktate des Anonymous 4. Ed. Fritz Reckow. Beihefte zum Archiv für Musikwissenschaft 4–5. Wiesbaden: Franz Steiner, 1967.

Anonymous 4. The music treatise of Anonymous IV: a new translation. Trans. Jeremy Yudkin. Musicological Studies and Documents 41. [Rome]: American Institute of Musicology, 1985.

Anonymous, Enchiriadis. Musica Enchiriadis and Scolica Enchiriadis. Trans. Raymond Erickson. New Haven and London: Yale University Press, 1995.

Anonymous, Enchiriadis. Musica et scolica enchiriadis. Ed. Hans Schmid. Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, vol. 3. Munich: Bayerische Akademie der Wissenschaften, 1981.

Archytas of Tarentum. Archytas of Tarentum: Pythagorean, Philosopher and Mathematician King. Carl A. Huffman. Cambridge: University of Cambridge Press, 2005.

Aristoxenus. Aristoxeni Elementa harmonica. Ed. Rosetta Da Rios. Scriptores Graeci et Latini consilio Academiae Lynceorum editi. Rome: Typis Publicae Officinae Polygraphicae, 1954.

Aurelian of Réôme. Musica disciplina. Ed. Lawrence Gushee. CSM 21. N.p.: American Institute of Musicology, 1975.

Aurelian of Réôme. The Discipline of Music/Musica disciplina. Trans. Joseph Ponte. Colorado Springs: Colorado College Music Press, 1968.

Barker, Andrew. Greek musical writings II: Harmonic and acoustic theory. Cambridge: Cambridge University Press, 1989.

Boethius. De musica. Anicii Manlii Torquati Severini Boetii de institutione arithmetica libri duo; De institutione musica libri quinque. Ed. Gottfried Friedlein. Leipzig: Teubner, 1867.

Boethius. De musica. Ancius Manlius Severinus Boethius. Fundamentals of music. Trans. Calvin Bower. New Haven and London: Yale University Press, 1989.

Boethius [Glosses]: Bernhard, Michael, and Calvin Bower, eds. Glossa maior in institutione musicam Boethii. Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorische Kommission. Munich: Bayerische Akademie der Wissenschaften, 1993–2011.

Cassiodorus. Institutiones. An introduction to divine and human readings by Cassiodorus Senator. Trans. Leslie Webber Jones. New York: Columbia University Press, 1946.

Cassiodorus. Institutiones. Cassiodori senatoris Institutiones. Ed. Roger A.B. Mynors. Oxford: Clarendon Press, 1937.

Coussemaker, Charles Edmond Henri de, ed. Scriptorum de musica medii aevi nova series. Paris: Durand, 1864–76.

Descartes. Compendium musicae. Compendium of Music. Trans. Walter Robert. [Rome]: American Institute of Musicology, 1961.

Descartes. Compendium musicae. Abrégé de musique. Ed. and trans. Frédéeric de Buzon. Paris: Presses Universitaires de France, 1987.

Descartes. Compendium musicae. Ed. in Oeuvres de Descartes. Vol. 10. Ed. Charles Adam and Paul Tannery. Paris: J. Vrin, 1986.

Franco of Cologne. Ars cantus mensurabilis: XIIIème siècle. Trans. Jean-Philippe Navarre. Paris: Editions Du Cerf, 1997.

Franco of Cologne. Ars cantus mensurabilis. Trans. in Strunk’s Source Readings in Music History: 227–45.

Gaffurius. Theorica musicae. Trans. Walter K. Kreyszig, ed. Claude V. Palisca. Music Theory Translation Series. New Haven, CT: Yale University Press, 1993.

Gerbert, Martin, ed. Scriptores ecclesiastici de musica. St. Blasien, 1784.

Glareanus. Dodecachordon. Trans. Clement Miller. MSD 6. N.p.: American Institute of Musicology, 1965.

Guido of Arezzo. Micrologus. Guidonis Aretini Micrologus. Ed. Joseph Smits van waesberghe. CSM 5. N.p.: American Institute of Musicology, 1955.

Guido of Arezzo. Micrologus. Hucbald, Guido, and John on music: Three medieval treatises. Trans. Warren Babb, ed. Claude Palisca. Music Theory Translation Series, vol. 3. New Haven and London: Yale University Press, 1978.

Guido of Arezzo. Regule rithmice, Prologus in antiphonarium, and Epistola ad Michahelem: a critical text and translation with an introduction, annotations, indices, and new manuscript inventories. Ed. and trans. Dolores Pesce. Ottawa: The Institute of Mediaeval Music, 1999.

Hermannus Contractus. Musica Hermanni Contracti. Ed. and trans. Leonard Ellinwood. Eastman School of Music Studies, vol. 2. Rochester, NY: N.p, 1936.

Hucbald of St. Amand. Hucbald, Guido, and John on music: Three medieval treatises. Trans. Babb, Warren, ed. Claude Palisca. Music Theory Translation Series, vol. 3. New Haven and London: Yale University Press, 1978.

Hucbald of St. Amand. L’oeuvre musicale d’Hucbald de Saint-Amand: les compositions et le traité de musique. Ed. Yves Chartier. Cahiers d’études médiévales. Cahier spécial no. 5. N.p.: Bellarmin, 1996.

Isidore of Seville. Etymologies, Book III, Chapters 15–23. Trans. Helen Dill Goode and Gertrude C. Drake. Colorado College Music Press Translations, 12. Colorado Springs: Colorado College Music Press, 1980.

Isidore of Seville. Isidori Hispalensis episcopi Etymologiarum sive originum libri XX. Ed. Wallace M. Lindsay. Oxford: Clarendon Press, 1911.

Jacques of Liège. Jacobi Leodiensis Speculum musicae. Ed. Roger Bragard. Corpus Scriptorum de Musica 3, 1–7. [Rome]: American Institute of Musicology, 1955–73.

Jacques of Liège. Speculum musicae (excerpts). Trans. in Strunk’s Source Readings in Music History: 269–78.

von Jan, Karl, ed. Musici scriptores graeci. Leipzig: Teubner, 1917.

Jerome of Moravia. Tractatus de musica. Ed. Simon C. Cserba. Freiburger Studien zur Musikwissenschaft. 2. Reihe der Veröffentlichungen des Musikwissenschaftlichen Instituts der Universität Freiburg. Heft 2. Regensburg: F. Pustet, 1935.

Johannes Afflighemensis [?]. Johannes Afflighemensis De musica cum Tonario. Ed. Joseph, Smits van Waesberghe. CSM 1. N.p.: American Institute of Musicology, 1950.

Johannes de Garlandia. Johannes de Garlandia: De mensurabili musica. Ed. Erich Reimer. Beihefte zum Archiv für Musikwissenschaft. Wiesbaden: Franz Steiner, 1967.

Johannes de Garlandia. Concerning measured music. Trans. Stanley H. Birnbaum. Colorado College Music Press Translations, 9. Colorado Springs: Colorado College Music Press, 1978.

Johannes de Muris. Die Musica speculative des Johannes de Muris: Kommentar zur Überliferung und kritische Edition. Ed. Christoph Falkenroth. Beihefte zum Archiv für Musikwissenschaft, vol. 34. Stuttgart: Steiner, 1992.

Johannes de Muris. Jean de Murs, Écrits sur la musique. Textes en latin, traduction et commentaire. Ed. Christian Meyer. Paris: CNRS Éditions, 2000.

Macrobius, Ambrosius Aurelius Theodosius. Commentary on the Dream of Scipio. Trans. with an introd. and notes William Harris Stahl. Records of civilization: sources and studies, no. 48. New York: Columbia University Press, 1952.

Macrobius, Ambrosius Aurelius Theodosius. Ambrosii Theodosii Macrobii Commentarii in somnium Scipionis. Ed. James Willis. Leipzig: Teubner, 1963.

Marchetto of Padua. The Lucidarium of Marchetto of Padua. Ed. and trans. Jan W. Herlinger. Chicago: University of Chicago Press, 1985.

Martianus Capella. De nuptiis Philologiae et Mercurii. Ed. James Willis. Stuttgart: Teubner, 1983.

Martianus Capella. Martianus Capella and the seven liberal arts. Trans. William Harris Stahl and Richard Johnson. Records of Civilization, Sources and studies, 84. New York: Columbia University Press, 1971–77.

Nicomachus of Gerasa. The manual of harmonics of Nicomachus the Pythagorean. Trans. and commentary Flora R. Levin. Grand Rapids, MI: Phanes Press, 1994.

Philippe de Vitry. Ars nova. Eds. Gilbert Reaney, André Gilles, and Jean Maillard. Corpus Scriptorum de Musica. [Rome]: American Institute of Musicology, 1964.

Philippe de Vitry. Philippe de Vitry’s Ars nova: a translation. Trans. Leon Plantinga. Journal of Music Theory 5 (1961): 204–23.

Philolaus of Croton. Philolaus of Croton: Pythagorean and Presocratic. A commentary on the fragments and testimonia with interpretive essays. Carl A. Huffman. Cambridge: Cambridge University Press, 1993.

Porphyrius. In Harmonica Ptolemaei commentarius. Porphyrios Kommentar zur Harmonielehre des Ptolemaios Ed. Ingemar Düring. Göteborg: Elanders Boktryckeri, 1932.

Prosdocimo de’ Beldomandi. Prosdocimo de’ Beldomandi’s Contrapunctus: A new critical text and translation. Ed. Jan W. Herlinger. Greek and Latin Music Theory. Lincoln: University of Nebraska Press, 1984.

Prosdocimo de’ Beldomandi. Prosdocimo de’ Beldomandi “Brevis summula proportionum (…)” and “Parvus tractatulus de modo monacordum dividendi”: A new critical text and translation. Ed. Jan W. Herlinger. Greek and Latin Music Theory. Lincoln: University of Nebraska Press, 1987.

Prosdocimo de’ Beldomandi. Prosdocimo de’ Beldomandi’s Plana musica and Musica speculativa: New Critical Texts, Translations, Annotations, and Indices. Ed. Jan W. Herlinger. Urbana and Chicago: University of Illinois Press, 2008.

Ptolemaeus. Harmonica. Die Harmonielehre des Klaudios Ptolemaios. Ed. Ingemar Düring. Göteborg: Elanders Boktryckeri, 1930.

Ptolemaeus. Harmonica. Ptolemy’s Harmonics, trans. and comm. Jon Solomon. Mnemosyne: Biblioteca classica Batava. Supplementum 203. Leiden: Brill, 1999.

Rameau, Jean-Philippe. Traité de l’harmonie reduite à ses principes naturels. In The Complete Theoretical Writings of Jean-Philippe Rameau, vol. 1. Ed. Erwin Jacobi. Rome: American Institute of Musicology, 1967.

Rameau, Jean-Philippe. Treatise on Harmony. Trans. Philip Gossett. New York: Dover, 1971.

Rameau, Jean-Philippe. Neuveau systême de musique théorique. In The Complete Theoretical Writings of Jean-Philippe Rameau, vol. 2. Ed. Erwin Jacobi. Rome: American Institute of Musicology, 1967.

Rameau, Jean-Philippe. Génération harmonique. In The Complete Theoretical Writings of Jean-Philippe Rameau, vol. 3. Ed. Erwin Jacobi. Rome: American Institute of Musicology, 1968

Rameau, Jean-Philippe. Harmonic generation. Trans. D. Hayes. University Microfilms, Ann Arbor, 1971.

Regino of Prüm. Studien zur ‘Epistola de armonica institutione’ des Regino von Prüm. Ed. Michael Bernhard. Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, vol. 5. Munich: Bayerische Akademie der Wissenschaften, 1979.

Sectio canonis. The Euclidean division of the canon: Greek and Latin Sources. Ed. André Barbera. Greek and Latin Music Theory 8. Lincoln, NB: University of Nebraska Press, 1991.

Theinred of Dover. Theinred of Dover’s De legitimis ordinibus pentachordorum et tetrachordorum: a critical text and translation with an introduction. Ed. and trans. John L. Snyder. Musical theorists in translation 18. Ottawa: Institute of medieval Music, 2006.

Tinctoris. The art of counterpoint (Liber de arte contrapuncti), trans. Albert Seay. Musicological Studies and Documents 5. [N.p.]: American Institute of Musicology, 1961.

Zarlino. Le istitutione harmoniche, Venezia, 1561 [facsimile reproduction], with introductory studies by Iain Fenlon and Paolo Da Col. Bibliotheca musica Bononiensis, Sezione II, n. 39. Bologna: Arnaldo Forni, 1999.

Zarlino. Le istitutione harmoniche of Gioseffo Zarlino, part 1: a translations with introduction by Lucielle Corwin. Ph.D. Thesis. CUNY 2008.

Secondary sources (selected)

Atkinson, Charles M. 1990. “Harmonia and the modi, quos abusive tonos dicimus.” In Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, 485–500. Turin: Edizioni di Torino.

———. 1996. “Modus.” In Handwörterbuch der musikalischen Terminologie. Wiesbaden: Steiner.

———. 2001. “The other modus: On the theory and practice of intervals in the eleventh and twelfth centuries.” In The study of medieval chant: Paths and bridges, east and west: In honor of Kenneth Levy, ed. Peter Jeffery, 233–56. Cambridge: Boydell and Brewer Ltd.

———. 2009. The critical nexus: tone-system, mode, and notation in early medieval music. AMS Studies in Music. Oxford: Oxford University Press.

Barbera, André. 1977. “Arithmetic and geometric divisions of the tetrachord.” Journal of Music Theory 21:294–323.

———. 1981. “Interpreting an arithmetical error in Boethius’s De institutione musica (iii.14–16).” Archives internationales d’histoire des sciences 31: 26–41.

———. 1984a. “The consonant eleventh and the expansion of the musical tetractys: a study of ancient Pythagoreanism.” Journal of Music Theory 28: 191–223.

———. 1984b. “Octave species.” Journal of Musicology 3: 229–41.

———. 1984c. “Placing Sectio canonis in historical and philosophical contexts.” Journal of Hellenic Studies 104: 157–61.

———, ed. 1990. Music theory and its sources: Antiquity and the middle ages. Notre Dame Conferences in Medieval Studies 1. Notre Dame, IN: University of Notre Dame.

Barker, Andrew. 1981a. “Aristotle on perception and ratios.” Phronesis 14: 248–66.

———. 1981b. “Methods and aims in the Euclidean Sectio canonis.” Journal of Hellenic Studies 101: 1–16.

———. 1994. “Ptolemy’s Pythagoreans, Archytas, Plato’s conception of mathematics.” Phronesis 39: 113–35.

———. 2000. Scientific method in Ptolemy’s Harmonics. Cambridge: Cambridge University Press.

———. 2003. “Early Timaeus commentaries and Hellenistic musicology.” In Ancient Approaches to Plato’s Timaeus, ed. Robert W. Sharples and Anne Sheppard, 73–87. Bulletin of the Institute of Classical Studies 78. London: Institute of Classical Studies, University of London.

———. 2007 The science of harmonics in classical Greece. Cambridge: Cambridge University Press.

———. 2010. “Mathematical beauty made audible: musical aesthetics in Ptolemy’s Harmonics.” Classical Philology 105: 403–420.

———. 2014. “Pythagorean harmonics.” In A History of Pythagoreanism, ed. C. Huffman, 185–203.

Bent, Ian. 1992. “History of Music Theory: Margin or Center?” Theoria 6: 1–21.

———, ed. 1996. Music theory in the age of Romanticism. Cambridge: Cambridge University Press.

Bent, Margaret. 1991. “Deception, exegesis and sounding number in Machaut’s motet 15.” Early Music History 10:15–28.

———. 1992. “The late-medieval motet.” In Companion to Medieval and Renaissance music, ed. T. Knighton and D. Fallows, 114–19. London.

———. 1997. “Polyphony of text and music in the fourteenth-century motet: Tribum que non abhorruit/Quoniam secta latronum/Merito hec patimur and its ‘quotation.’” In Hearing the motet: essays on the motet of the Middle Ages and Renaissance, ed. Dolores Pesce, 82–103. New York: Oxford University Press.

———. 1998. “The grammar of early music: preconditions for analysis.” In Tonal structures in early music, ed. Cristle Collins Judd, 15–59. Criticism and Analysis of Early Music. New York: Garland.

———. 2001. “Isorhythm.” In New Grove.

———. 2002. Counterpoint, composition, and musica ficta. New York: Routledge.

———. 2008. “What is isorhythm?” In Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner, ed D.B. Cannata et al. Miscellanea 7. Middleton, WI: American Institute of Musicology.

Berger, Carol. 1981. “The hand and the art of memory.” Musica disciplina 35: 87–120.

Berger, Christian. 1993. “Das Zusammenspiel von Hexachordsystem und Modus am Beispiel der Motet Tuba/In arboris/Virgo sum von Philippe de Vitry.” Revista de Musicologia 16:2410–20.

Bernhard, Michael. 1990a. “Die musikalische Fachschrifttum im lateinischen Mittelalter.” In Rezeption des antiken Fachs im Mittelalter, ed. Frieder Zaminer, 39–103. Geschichte der Musiktheorie 3. Darmstadt: Wissenschaftliche Buchgesellschaft.

———. 1990b. “Glosses on Boethius’ De institutione musica.” In Music theory and its sources: Antiquity and the Middle Ages, ed. André Barbera. Notre Dame, IN: University of Notre Dame Press.

———. 1990c. “Überlieferung und Fortleben der antiken lateinischen Musiktheorie im Mittelalter.” In Rezeption des antiken Fachs im Mittelalter, ed. Frieder Zaminer, 9–35. Geschichte der Musiktheorie 3. Darmstadt: Wissenschaftliche Buchgesellschaft.

Blasius, Leslie. 1996. Schenker’s argument and the claims of music theory. Cambridge: Cambridge University Press.

———. 2002. “Mapping the terrain.” In The Cambridge history of western music theory, ed. Thomas Christensen, 25–45. The Cambridge History of Music. Cambridge: Cambridge University Press.

Bowen, Alan. 1991. “Euclid’s Sectio canonis and the history of Pythagoreanism.” In Science and philosophy in classical Greece, ed. A. Bowen, 164–87. New York: Garland.

Bower, Calvin. 1978. “Boethius and Nicomachus: an essay concerning the sources of De institutione musica.” Vivarium 16: 1–45.

———. 1981. “The role of Boethius’ De institutione musica in the speculative tradition of western musical thought.” In Boethius and the liberal arts: a collection of essays, ed. Michael Masi, 157–74. Utah Studies in Literature and Linguistics. Las Vegas, NV: Peter Lang.

———. 1984. “The modes of Boethius.” Journal of Musicology 3: 252–63.

———. 1998. “Die Wechselwirkung von philosophia, mathematica und musica in der karolingischen Rezeption der Institutio musica von Boethius.” In Musik- und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von “musica” und “philosophia” im Mittelalter, ed. Frank Hentschel. Studien und Texte zur Geistesgeschichte des Mittelalters. Leiden: Brill.

———. 2002. “The transmission of ancient music theory into the Middle Ages.” In The Cambridge history of western music theory, ed. Thomas Christensen, 136–67. The Cambridge History of Music. Cambridge: Cambridge University Press.

Brothers, Thomas. 1997a. Chromatic beauty in the late medieval chanson: an interpretation of manuscript accidentals. Cambridge: Cambridge University Press.

———. 1997b. “Musica ficta and harmony in Machaut’s songs.” Journal of Musicology 15:501–528.

Burnett, Charles, Michael Fend, and Penelope M. Gouk, eds. 1991. The second sense: Studies in hearing and musical judgement from antiquity to the seventeenth century. Warburg Institute Surveys and Texts 22. London: University of London.

Busse-Berger, Anna Maria. 1993. Mensuration and proportion signs: origins and evolution. Oxford: Clarendon Press.

———. 2005. Medieval music and the art of memory. Berkeley: University of California Press.

Butler, Katherine. 2016. “Changing attitudes towards classical mythology and their impact on notions of the powers of music in early modern England.” Music and Letters 97: 42–60.

Carey, Norman and David Clampitt. 1996. “Regions: a theory of tonal spaces in early medieval treatises.” Journal of Music Theory 40: 113–147.

Chadwick, Henry. 1981. Boethius: the consolations of music, logic, theology and philosophy. New York: Oxford University Press.

Chailley, Jacques. 1963. “Le monocorde et la théorie musicale.” In Organicae Voces. Festschrift Joseph Smits van Waesberghe, angeboten anlässlich seines 60. Geburtstages, 18 April 1961, 11–20. Amsterdam: Instituut voor Middeleeuwse Muziekwetenschap.

Chapin, Keith and Andrew H. Clark, eds. 2013. Speaking of music: addressing the sonorous. New York: Fordham University Press.

Christensen, Thomas. 1993b. Rameau and musical thought in the Enlightenment. Cambridge: Cambridge University Press.

———. 1993a. “Music theory and its histories.” In Music theory and the exploration of the past, ed. David Bernstein and Christopher Hatch, 23–51 .Chicago: University of Chicago Press.

———, ed. 2002a. The Cambridge history of western music theory. Cambridge: University of Cambridge Press.

———. 2002b. “Introduction.” In The Cambridge history of western music theory, ed. Thomas Christensen, 1–23. Cambridge: University of Cambridge Press.

———. 2014. The work of music theory. London: Ashgate Publishing.

Clark, Suzannah and Alexander Rehding, ed., 2001 Music theory and natural order from the Renaissance to the early twentieth century. Cambridge: Cambridge University Press.

Cohen, David E. 1993. “Metaphysics, ideology, discipline: consonance, dissonance, and the foundations of Western polyphony.” Theoria 7 :1–85.

———. 2001. “The imperfect seeks its perfection: harmonic progression, directed motion, and Aristotelian physics.” Music Theory Spectrum 23: 139–69.

———. 2002. “Notes, scales, and modes in the earlier Middle Ages.” In The Cambridge history of western music theory, ed. Thomas Christensen, 307–63. The Cambridge History of Music. Cambridge: Cambridge University Press.

Cohen, H. Floris. 1984. Quantifying music: the science of music at the first stage of the scientific revolution, 1580–1650. The University of Western Ontario Series in the philosophy of science 23. Dordrecht: D. Reidel.

Cook, Nicholas. 2007. The Schenker project: culture, race, and music theory in fin-de-siècle Vienna. Oxford: Oxford University Press.

Creese, David. 2010. The monochord in ancient Greek harmonic science. Cambridge Classical Studies. Cambridge: Cambridge University Press.

Crocker, Richard. 1972. “Hermann’s major sixth.” Journal of the American Musicological Society 25: 19–37.

———. 1962. “Discant, counterpoint, and harmony.” Journal of the American Musicological Society 15: 1–21.

Dahlhaus, Carl. 1984. Die Musiktheorie im 18. Und 19. Jahrhundert: Grundzüge einer Systematik. Geschichte der Musiktheorie 10. Darmstadt: Wissenschaftliche Buchgesellschaft.

———. 1985. “Was heißt ‘Geschichte der Musiktheorie’?” In Ideen zu einer Geschichte der Musiktheorie, ed. Frieder Zaminer. Geschichte der Musiktheorie 1, 8–39. Darmstadt: Wissenschaftliche Buchgesellschaft.

Damschroder, David. 2008. Thinking about harmony: historical perspectives on analysis. Cambridge: Cambridge University Press.

Darlow, Mark. 2013. Dissonance in the Republic of Letters: The Querelle des Gluckistes et des Piccinnistes. Oxford: Legenda.

DeFord, Ruth. 2015. Tactus, mensuration, and rhythm in Renaissance music. Cambridge: Cambridge University Press.

Desmond, Karen. 2015. “Did Vitry write an Ars vetus et nova?” Journal of Musicology 32: 441–493.

———. 2013. “Refusal, the look of love, and the beastly woman of Machaut’s balades 27 and 38.” Early Music History 32: 71–118.

Dillon, Emma. The sense of sound: musical meaning in france, 1260–1330. Oxford: Oxford University Press, 2012.

Dyer, Joseph. 2009. “Speculative musica and the medieval University of Paris.” Music and Letters 90: 177–204.

Falkenhausen, Lothar von. 1993. Suspended music: chime-bells in the culture of Bronze Age China. Berkeley: University of California Press.

Fallahzadeh, Mehrdad. 2005. Persian writing on music: a study of Persian musical literature from 1000 to 1500 AD. Uppsala: Uppsala Universitet.

Farmer, Henry George. 1997. Studies in Oriental Music. 2 vols. Ed. Eckhard Neubauer. The Science of Music in Islam 1–2. Frankfurt am Main: Institute of the History of Arabic-Islamic Science.

Fuller, Sarah. 1981. “Theoretical foundations of early organum theory.” Acta musicologica 53: 52–84.

———. 1985–1986. “A phantom treatise of the fourteenth century? The Ars nova.” Journal of Musicology 4: 23–50.

———. 1990. “Modal tenors and tonal orientation in the motets of Guillaume de Machaut.” Current Musicology 45–47: 199–245.

———. 1991. “Machaut and the definition of musical space.” Sonus: A Journal of Investigations Into Global Musical Possibilities 12: 1–15.

———. 1992. “Tendencies and resolutions: the directed progression in ars nova music.” Journal of Music Theory 36: 229–58.

———. 1996. “Defending the Dodecachordon: ideological currents in Glarean’s modal theory.” JAMS 49: 191–224.

———. 1998a. “Modal discourse and fourteenth-century French song: a ‘medieval’ perspective recovered?” Early Music History 17: 61–108.

———. 1998b. “‘Delectabatur in hoc auris’: some fourteenth-century perspectives on aural perception.” The Musical Quarterly 82: 466–481.

Fuller, Sarah. 2002. “Organum – discantuscontrapunctus in the Middle Ages.” In The Cambridge history of western music theory, ed. Thomas Christensen, 477–502. The Cambridge History of Music. Cambridge: Cambridge University Press.

Gibson, Sophie. 2005. Aristoxenus of Tarentum and the birth of musicology. Studies in Classics. New York and London: Routledge.

Giger, Andreas and Thomas Mathiesen, eds. 2002. Music in the mirror: reflections on the history of music theory and literature for the twenty-first century. Lincoln, NB: University of Nebraska Press.

Gilles, Andre, and Gilbert Reaney. 1958. “A new source for the Ars nova of Philippe de Vitry.” Musica disciplina 12: 59–66.

Gjerdingen, Robert. 2007. Music in the Galant style. Oxford: Oxford University Press.

Gottschalk, H.B. 1968. “The De audibilibus and Peripatetic acoustics.” Hermes 96: 435–60.

Gouk, Penelope. 1999. Music, science and natural magic in seventeenth-century England. New Haven: Yale University Press.

Grant, Roger Mathew. 2009. “Epistemologies of time and metre in the long eighteenth century.” Eighteenth Century Music 6: 59–75.

———. 2013a. “Ad infinitum: numbers and series in early modern music theory.” Music Theory Spectrum 35.1: 62–76.

———. 2013b. “Leonhard Euler’s unfinished theory of rhythm.” Journal of Music Theory 57: 245–286.

———. 2014. Beating time and measuring music in the early modern era. Oxford: Oxford University Press.

Grebe, Sabine. 1993. “Die Musiktheorie des Martianus Capella: Eine Betrachtung der in 9,921–935 benutzten Quellen.” International Journal of Musicology 2:23–60.

Günther, Ursula. 1958. “The 14th-century motet and its development.” Musica disciplina 12:27–58.

Gushee, Lawrence. 1973. “Questions of genre in medieval treatises on music.” In Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. Wulf Arlt, Ernst Lichtenhahn, and Hans Oesch, 365–433. Munich: Francke Verlag.

Haas, Max. 1984. “Die Musiklehre im 13. Jahrhundert von Johannes de Garlandia bis Franco.” In Die mittelalterliche Lehre von der Mehrstimmigkeit, ed. Frieder Zaminer, 91–158. Geschichte der Musiktheorie 5. Darmstadt: Wissenschaftliche Buchgesellschaft.

Hagel, Stefan. 2010. Ancient Greek music: a new technical history. Cambridge: Cambridge University Press.

Haines, John. 2006. “Anonymous IV as an informant on the craft of music writing.” Journal of Musicology 23:375–425.

Hatch, Christopher and David Bernstein, eds. 1993. Music theory and the exploration of the past. Chicago: University of Chicago Press.

Heilmann, Anja. 2007. Boethius’ Musiktheorie und das Quadrivium: eine Einführung in den neuplatonischen Hintergrund von ‘De institutione musica’. Hypomnemata: Untersuchungen zur Antike und zu ihrem Nachleben 171. Göttingen: Vandenhoeck and Ruprecht.

Heller-Roazen, Daniel. 2011. The fifth hammer: Pythagoras and the disharmony of the world. New York: Zone Books.

Hentschel, Frank, ed. 1998. Musik- und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von ‘Musica’ und ‘Philosophia’ im Mittelalter. Studien und texte zur Geistesgeschichte des Mittelalters, 72. Leiden: Brill.

———. 2000. Sinnlichkeit und Vernunft in der mittelalterlichen Musiktheorie: Strategien der Konsonanzwertung und der Gegenstand der musica sonora um 1300. Beiheft zum Archiv für Musikwissenschaft 47. Stuttgart: Franz Steiner Verlag.

Herissone, Rebecca. 2000. Music theory in seventeenth-century England. Oxford: Oxford University Press.

Hicks, Andrew. 2014. “Pythagoras and Pythagoreanism in late antiquity and the Middle Ages.” In A History of Pythagoreanism, ed. C. Huffman, 416–434.

———. 2016. “Re-interpreting an arithmetical error in Boethius’s De institutione musica.” Music Theory and Analysis 3, 1–26.

———. 2017. Composing the world: harmony in the medieval Platonic cosmos. Oxford: Oxford University Press.

Hirshberg, J. 1980. “Hexachordal and modal structure in Machaut’s polyphonic chansons.” In Studies in musicology in honor of Otto E. Albrecht, ed. John W. Hill, 19–42. Kassel: Bärenreiter.

Huffman, Carl, ed. 2014. A History of Pythagoreanism. Cambridge: Cambridge University Press.

Hui, Alexandra. 2012. The psychophysical ear: musical experiments, experimental sounds, 18401910. Cambridge, MA: MIT Press.

Judd, Cristle Collins, ed. 1998. Tonal structures in early music. Criticism and analysis of early music 1. New York: Garland.

———. 2000. Reading Renaissance music theory: hearing with the eyes. Cambridge: Cambridge University Press.

Kane, Brian. 2014. Sound unseen: acousmatic sound in theory and practice. Oxford: Oxford University Press.

Kieffer, Alexandra. 2015. “The Debussyist ear.” 19th-Century Music 39: 56–79.

———. 2016. “Riemann in France: Jean Marnold and the ‘modern’ music-theoretical ear.” Music Theory Spectrum 38: 1–15.

Koslovsky, John. 2010a. “Historic proportions: a look at Felix Salzer’s historical narrative and two analyses of Ockeghem’s Je n’ay dueil.Dutch Journal of Music Theory 15: 59–67.

———. 2010b.“Primäre Klangformen, Linearität, oder Auskomponierung?: the analysis of medieval polyphony and the critique of musicology in the early work of Felix Salzer.” Journal of Schenkerian Studies 4: 187–206.

Leach, Eva Elizabeth. 2000a. “Counterpoint and analysis in fourteenth-century song.” Journal of Music Theory 44: 45–79.

———. 2000b. “Interpretation and counterpoint: the case of Guillaume de Machaut’s De toutes flours (B31).”Music Analysis 193:321–351.

———. 2001. “Machaut’s balades with four voices.” Plainsong and Medieval Music 10:47–79.

———. 2006. Sung birds: music, nature, and poetry in the later middle ages. Ithaca, NY: Cornell University Press.

Leech-Wilkinson, Daniel. 1982-3. “Related motets from fourteenth-century France.” Proceedings of the Royal Music Academy 109:1–22.

———. 1984. “Machaut’s Rose, lis and the problem of early music analysis.” Music Analysis 3:9–28.

———. 1989. Compositional techniques in the four-part isorhythmic motets of Philippe de Vitry and his contemporaries. Outstanding Dissertations in Music from British Universities. New York: Garland Publishing, Inc.

———. 1990. “Ars antiqua—ars nova—ars subtilior.” In Antiquity and the middle ages: from ancient greece to the fifteenth century, ed. James McKinnon. Englewood Cliffs, N.J.: Prentice Hall.

———. 1995. “The emergence of Ars nova.” Journal of musicology 13:285–317.

Lefferts, Peter. 1995. “Signature systems and tonal types in the fourteenth-century French chanson.” Plainsong and Medieval Music 4:117–147.

Lester, Joel. 1989. Between modes and keys: German theory 1592–1802. Stuyvesant, NY: Pendragon Press.

———. 1992. Compositional theory in the eighteenth century. Cambridge, MA: Harvard University Press.

———. 2016. “On reading music theories from the past.” Music Theory and Analysis 3: 218–253.

Levin, Flora R. 2009. Greek reflections on the nature of music. Cambridge: Cambridge University Press.

Manik, Liberty. 1969. Das arabische Tonsystem im Mittelalter. Leiden: E.J. Brill.

Martin, Nathan John. 2012. “Rameau’s changing views on supposition and suspension.” Journal of Music Theory 56: 121–167.

Mathiesen, Thomas J. 1983. “Aristides Quintilianus and the harmonics of Manuel Bryennius: A study of Byzantine music theory.” Journal of Music Theory 27: 31–49.

———. 1999. Apollo’s lyre: Greek music and music theory in antiquity and the Middle Ages. Publications of the Center for the History of Music Theory and Literature 2. Lincoln, NB: University of Nebraska Press.

Maw, David. 2001. “Redemption and retrospection in Jacques de Liège’s concept of cadentia.” Early Music History 29 (2010): 79–118.

McCreless, Patrick. 2000. “Music theory and historical awareness.” Music Theory Online 6.3. http://www.mtosmt.org/issues/mto.00.6.3/mto.00.6.3.mccreless.html.

———. 2011. “Ownership, in music and music theory.” Music Theory Online 17.1. http://www.mtosmt.org/issues/mto.11.17.1/mto.11.17.1.mccreless.html .

Mengozzi, Stefano. 2010. The Renaissance reform of medieval music theory: Guido of Arezzo between myth and history. Cambridge: Cambridge University Press.

Meyer, Christian. 1990. “Le De synemmenis et sa tradition: contribution à l’étude des mesures du monocorde vers la fin du XIIIe siècle.” Revue de musicologie 76: 83–95.

———. 1992. “Lecture(s) de Jérôme de Moravie: Jérôme de Moravie, lecteur de Boèce.” In Jérôme de Moravie, un théoricien de la musique dans le milieu intellectual parisien du XIIIe siècle: actes du colloque de Royaumont 1989, ed. Michel Huglo and Marcel Pérès. Paris: Créaphis.

———. 1996. Mensura monochordi: la division du monocorde (IXe–XVe siècles). Publications de la Société Française de musicologie. Second series, 15. Paris: Klincksieck.

———. 2000. “Die Tonartenlehre im Mittelalter.” In Die Lehre von einstimmigen liturgischen Gesang, ed. T. Ertelt and F. Zaminer. Geschichte der Musiktheorie 4, 139–212. Darmstadt: Wissenschaftliche Buchgesellschaft.

———. 2007. “L’Âme du monde dans la rationalité musicale: ou l’expérience sensible d’un ordre intelligible.” In Harmonia mundi. Musica mondana e musica celeste fra Antichità e Medioevo, ed. Marta Cristiani, Cecilia Panti, and Graziano Perillo, 57–75. Florence: SISMEL.

Moreno, Jairo. 2004. Musical representations, subjects, and objects: the construction of musical thought in Zarlino, Descartes, Rameau, and Weber. Bloomington, IN: Indiana University Press.

Morgan, Robert. 2014. Becoming Heinrich Schenker: music theory and ideology. Cambridge: Cambridge University Press.

Moseley, Roger. 2016. Keys to play: music as a ludic medium from Apollo to Nintendo. Oakland: University of California Press.

Mutch, Caleb. 2015. “Blainville’s new mode, or how the plagal cadence came to be plagal.” Eighteenth Century Music 12: 69–90.

Nettl, Bruno. 1992. The radif of Persian music: studies of structure and cultural context. Rev. ed. Champaign, IL: Elephant and Cat.

Netz, Reviel. 1999. The shaping of deduction in Greek mathematics: a story in cognitive history. Cambridge: Cambridge University Press.

Neubauer, Eckhard. 1998. Arabische musiktheorie von den anfängen bis zum 6./12. Jahrhundert: Studien, Übersetzungen und Texte in Faksimile. The Science of Music in Islam 3. Frankfurt am Main: Institute for the History of Arabic-Islamic Science.

Neubauer, Elsbeth Ida and Eckhard Neubauer. 2012. Arab music in western research: a bibliography of books and articles written in western languages on the music of Arab countries. Part I: Musical life in past and present. General titles. Local developments. The Science of Music in Islam 8.1. Frankfurt am Main: Institute for the History of Arabic-Islamic Science.

Neuwirth, Markus and Pieter Bergé. 2015. What is a cadence? Theoretical and analytical perspectives on cadences in the classical repertoire. Leuven: Leuven University Press.

Nolan, Catherine. 2002. “Music theory and mathematics.” In The Cambridge history of western music theory, ed. Thomas Christensen, 272–304. The Cambridge History of Music. Cambridge: Cambridge University Press.

Ochoa Gautier, Ana María. 2014. Aurality: listening and knowledge in nineteenth-century Colombia. Durham, NC: Duke University Press.

Page, Christopher. 1989. The owl and the nightingale: musical life and ideas in France 1100–1300. Oxford: J.M. Dent & Sons.

Palisca, Claude. 1994. Studies in the history of Italian music and music theory. Oxford: Clarendon Press.

———. 2006. Music and ideas in the sixteenth and seventeenth centuries. Chicago: University of Chicago Press.

Pesce, Dolores. 1987. The affinities and medieval transposition. Bloomington: Indiana University Press.

Pesic, Peter. 2014a. Music and the making of modern science. Cambridge, MA: The MIT Press.

———. 2014b. “Max Planck’s writings on music: translation and commentary.” Theoria 21: 83–139.

Plumley, Y. 1996. The grammar of fourteenth-century melody: tonal organization and compositional process in the chansons of Guillaume de Machaut and the ars subtilior. Outstanding Dissertations in Music from British Universities. New York: Garland Publishing, Inc.

Powers, Harold. 2001. “Mode.” In New Grove.

Probst, Stephanie. 2012. “Musiktheorie als Kompositionslehre und Komposition(slehre) als Musiktheorie–Hugo Riemann zwischen Theorie und Praxis.” ZGMTH-Zeitschrift der Gesellschaft für Musiktheorie 2, 259276.

Raz, Carmel. 2014. “The expressive organ within us: ether, ethereality, and early Romantic ideas about music and the nerves.” 19th-Century Music 38: 115–144.

Redwood, André. 2015. “Mersenne and the art of delivery.” Journal of Music Theory 59: 99119.

Rehding, Alexander. 2003. Hugo Riemann and the birth of modern musical thought. Cambridge: Cambridge University Press.

———. 2016a. “Instruments of music theory.” Music Theory Online 22.4 http://mtosmt.org/issues/mto.16.22.4/mto.16.22.4.rehding.html

———. 2016b. “Three music-theory lessons.” Journal of the Royal Musical Association 141: 251–282.

Riemann, Hugo. 1920. Geschichte der Musiktheorie im IX–XIX. Jahrhundert. 2d ed. Berlin: Hesse.

———. 1962. History of music theory, Books I and II: polyphonic theory to the sixteenth century, trans. Raymond H. Haggh. Lincoln, NB: University of Nebraska Press.

Roesner, Edward. 1990. “The emergence of musica mensurabilis.” In Studies in musical sources and style: essays in honor of Jan LaRue, ed. Eugene K. Wolf and Edward Roesner, 41–74. Madison, WI: A-R Editions.

———. 2001. “Who ‘made’ the ‘Magnus Liber?’” Early Music History 20:227–266.

Rothfarb, Lee. 1988. Ernst Kurth as theorist and analyst. Philadelphia: University of Pennsylvania Press.

———. 2009. August Halm: a critical and creative life in music. Rochester, NY: University Rochester Press.

Sachs, Klaus-Jürgen. 1974. Der Contrapunctus im 14. und 15. Jahrhundert: Untersuchungen zum Terminus, zur Lehre und zu den Quellen. Beihefte zum Archiv für Musikwissenschaft 13. Wiesbaden: Franz Steiner Verlag.

———. 1990. “Musikalische Elementarlehre im Mittelalter.” In Rezeption des antiken Fachs im Mittelalter, ed. Frieder Zaminer, 105–61. Geschichte der Musiktheorie 3. Darmstadt: Wissenschaftliche Buchgesellschaft.

Sanguinetti, Giorgio. 2012. The art of partimento: history, theory, and practice. Oxford: Oxford University Press.

Schiltz, Katelijne. 2015. Music and riddle culture in the Renaissance. Cambridge: Cambridge University Press.

Schubert, Peter. 1999. Modal counterpoint, Renaissance style. Oxford: Oxford University Press.

Schuijer, Michiel. 2008. Analyzing atonal music: pitch-class set theory and its contexts. Rochester, NY: University Rochester Press.

Snyder, John L. 1983. “Theinred of Dover on consonance: A chapter in the history of harmony.” Music Theory Spectrum 5: 110–20.

———. 1986. “Nondiatonic tones in plainsong: Theinred of Dover versus Guido d’Arezzo.” In La musique et le rite sacré et profane: Proceedings of the 13th congress of the International Society of Musicology, Strasbourg, 1982, ed. Marc Honegger and Paul Prevost, 49–67. Strasbourg: University of Strasbourg.

———. 1990. “A road not taken: Theinred of Dover’s theory of species.” Journal of the Royal Musical Association 115: 145–81.

———. 2006a. “Reason and original thinking in English intellectual circles: Aristotle, Adelard, Auctoritas, and Theinred of Dover’s musical theory of species.” In Teaching and Learning in Northern Europe, 1000–1200, ed. Sally N. Vaughn and Jay Rubenstein, 279–304. Studies in the early middle ages 8. Turnhout: Brepols.

Steege, Benjamin. 2012. Helmholtz and the modern listener. Cambridge: Cambridge University Press.

Tan, Daphne. 2015. “Beyond energetics: Gestalt psychology in Ernst Kurth’s Musikpsychologie.” Theoria 22: 99–129.

Tanay, Dorit. 1992. “The transition from the ars antiqua to the ars nova: evolution or revolution?” Musica disciplina 46:79–104.

———. 1999. Noting music, marking culture: the intellectual context of rhythmic notation, 1250–1400. Musicological Studies and Documents 46. American Institute of Musicology.

Traub, Andreas. 1997. “Zur Musiktheorie im Mittelalter.” Musiktheorie 12: 107–18.

Tresch, John, and Emily I. Dolan. 2013. “Toward a new organology: instruments of music and science.” Osiris 28: 278-298.

Trippett, David. 2013. Wagner’s melodies: aesthetics and materialism in German musical identity. Cambridge: Cambridge University Press.

Turner, Charles. 1991. “Proportion and form in the continental isorhythmic motet c. 1385–1450.” Music Analysis 10:89–124.

Wason, Robert. 1985. Viennese harmonic theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor: UMI Research Press.

Watkins, Holly. 2011. Metaphors of depth in German musical thought: from E.T.A. Hoffmann to Arnold Schoenberg. Cambridge: Cambridge University Press.

Weakland, Rembert. 1956. “Hucbald as musician and theorist.” Musical Quarterly 42: 66–84.

Wegman, Rob C. 1996. “From maker to composer: improvisation and musical authorship in the Low Countries, 1450–1500.” JAMS 49: 409–479.

———. 2014. “What is counterpoint?” In Rob Wegman, Johannes Menke, and Peter Schubert, Improvising Early Music, 9–68. Leuven: Leuven University Press.

———. 2015. “The world according to Anonymous IV.” In Qui musicam in se habet: studies in honor of Alejandro Enrique Planchart, ed. Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman, 693–730. American Institute of Musicology.

Wienpahl, Robert W. 1956. “Zarlino, the senario, and tonality.” JAMS 12: 27–41.

Wittmann, Michael. 1987. Vox atque sonus. Studien zur rezeption der aristotelischen Schrift De anima und ihre Bedeutung für die Musiktheorie. 2 vols. Musikwissenschaftliche Studies, 4. Pfaffenweiler: Centaurus Verlagsgesellschaft.

Wright, Owen. 2014. Music theory in Mamluk Cairo: the ġāyat al-maṭlūb fī ‘ilm al-adwār wa-’l-ḍurūb by Ibn Kurr. London: Ashgate.

———, ed. and trans. 2010. The Risāla on Music by the Ikhwān al-Ṣafā: Critical Edition and Translation. Oxford: Oxford University Press..

Yudkin, Jeremy. 1990. “The influence of Aristotle on French university music texts.” In Barbera 1990, 173–189.

Zaminer, Frieder, ed. 1990. Rezeption des antiken Fachs im Mittelalter. Geschichte der Musiktheorie, vol. 3. Darmstadt: Wissenschaftliche Buchgesellschaft.

Zaminer, Frieder, and Thomas Ertelt, eds. 1984–2006. Geschichte der Musiktheorie. 12 vols. Darmstadt: Wissenschaftliche Buchgesellschaft.

Zayaruznaya, Anna. 2015a. The monstrous new art: divided forms in the late medieval motet. Cambridge: Cambridge University Press.

———. 2015b. “Quotation, perfection and the eloquence of form: introducing Beatius/Cum humanum.” Plainsong and Medieval Music 24: 129–66.

 

Advertisements