This book comprises an edition of the Spataro Correspondence, so called after its main author, the Bolognese music theorist Giovanni Spataro (c. 1459-1541). Spataro's main correspondents were Giovanni del Lago and Pietro Aaron. The 110 letters, which survive in the Biblioteca ApostolicaVaticana and the Bibliotheque Nationale, offer a vivid insight into the intellectual world of a group of sixteenth-century music theorists and performing musicians living in Italy. With this edition an important body of source material now becomes readily available. Each letter appears in its entirety in the original Italian, with a full English summary, commentary, and notes. A reference section includes a biographical dictionary and explanatory notes on problematic terms.

Enth. u.a. "The polyphony of Heinrich Glarean's 'Dodecachordon'" (S. 115-176).

The culture of the enigmatic from Classical Antiquity to the Renaissance -- Devising musical riddles in the Renaissance -- The reception of the enigmatic in music theory -- Riddles visualised.

This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor‘s introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.

What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other -- including gender, social status, and the role of the Church -- to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.

Chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain), genre studies (Mass, motet, madrigal, chanson, instrumental music, opera), as well as essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, the concepts of "Renaissance" and "Baroque").