Source:
Higini Angles, "Dos tractats medievals de musica figurada," in
Musikwissenschaftliche Beiträge: Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstag, ed. W. Lott, H. Osthoff, and W. Wolffheim (Berlin: Breslauer, 1929), 6–10.
Source: Tractatus et compendium cantus figurati (Mss. London, British Libr., Add. 34200; Regensburg, Proskesche Musikbibl., 98 th. 4o), ed. Jill M. Palmer, Corpus scriptorum de musica, vol. 35 (n.p.: American Institute of Musicology / Hänssler Verlag, 1990), 41–93. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: De valore notvlarum tam veteris qvam novae artis (Ms. Paris, Bibl. Nat., lat. 15128);
Compendium mvsicae mensvrabilis tam veteris qvam novae artis (Ms. Paris, Bibl. Nat., lat. 15128);
De diversis maneriebvs in mvsica mensvrabili (Ms. Saint-Dié, Bibl. Municipale 42), ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 30 (n.p.: American Institute of Musicology, 1982), 33–41. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel, "Zur Frühgeschichte der vulgärsprachlichen spanischen und katalanischen Musiktheorie," in
Gesammelte Aufsätze zur Kulturgeschichte Spaniens, ed. Johannes Vincke, Spanische Forschungen der Görresgesellschaft, I/24 (Münster: Aschendorff, 1968), 326–29. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 36–47. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
P. Altman Kellner, "Ein Mensuraltraktat aus der Zeit um 1400,"
Anzeiger der Oesterreichischen Akademie der Wissenschaften, philosophisch-historische Klasse 94 (1957): 73–85, 73–85. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Alexander Rausch, "Mensuraltraktate des Spätmittelalters in Österreichischen Bibliotheken," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 15 (Munich: Bayerische Akademie der Wissenschaften; C. H. Beck, 2001), 293–303. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Bernhold Schmid, "Ein Mensuralkompendium aus der Handschrift Clm 24809," in
Quellen und Studien zur Musiktheorie des Mittelalters, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 8 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1990), 74–76. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Antonius de Luca,
Ars cantus figurati;
Capitulum de quattuor mensuris;
Tractatulus mensurationum;
Compendium breve de proportionibus;
Tractatulus prolationum cum tabulis, ed. Heinz Ristory, Corpus scriptorum de musica, vol. 38 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 76–81. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Jill Palmer, "A Late Fifteenth-Century Anonymous Mensuration Treatise (Ssp) Salzburg, Erzabtei St. Peter, a VI 44, 1490; cod. pap.; 206 x 149 mm. 75ff.,"
Musica disciplina 39 (1985): 87-106, 89–103. Text copyright 1986. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Antonius de Luca,
Ars cantus figurati;
Capitulum de quattuor mensuris;
Tractatulus mensurationum;
Compendium breve de proportionibus;
Tractatulus prolationum cum tabulis, ed. Heinz Ristory, Corpus scriptorum de musica, vol. 38 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 62–63. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 78–79. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 54–55. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 68–72. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 82–83. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 58–65. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Prosdocimo de' Beldomandi,
Brevis summula proportionum quantum ad musicam pertinet and Parvus tractatulus de modo monacordum dividendi, ed. and trans. by Jan Herlinger, Greek and Latin Music Theory, vol. 4 (Lincoln: University of Nebraska Press, 1987), 150–52. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 86–87. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Zsuzsa Czagány, "Anonymi Leutoviensis Tractatus de musica,"
Musica disciplina 46 (1992): 223-242, 234–42. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymus. Ex codice Vaticano lat. 5129, ed. Albert Seay, Corpus scriptorum de musica, vol. 9 ([Rome]: American Institute of Musicology, 1964), 21–48. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Lorenz Welker, "Ein anonymer Mensuraltraktat in der Sterzinger Miszellaneen-Handschrift,"
Archiv für Musikwissenschaft 48 (1991): 255-281, 255–81. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Theodor Göllner, “Eine Spielanweisung für Tasteninstrumente aus dem 15. Jahrhundert,” in
Essays in Musicology. A Birthday Offering for Willi Apel, ed. Hans Tischler (Bloomington: School of Music, Indiana University, 1968), 70–71.
Source:
Elzbieta Witkowska-Zaremba, "
Ars organisandi around 1430 and Its Terminology," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 15 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 2001), 402–18. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Elzbieta Witkowska-Zaremba, "
Ars organisandi around 1430 and Its Terminology," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 15 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 2001), 387–98. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Gilbert Reaney, "The Anonymous Treatise
De origine et effectu musicae, an Early 15th Century Commonplace Book of Music Theory,"
Musica disciplina 37 (1983): 101-19, 109–19. Text copyright 1985. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Andres Briner, "Ein anonymer unvollständiger Musiktraktat des 15. Jahrhunderts in Philadelphia, USA,"
Kirchenmusikalisches Jahrbuch 50 (1966): 27-38, 27–38. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Quaestiones et solutiones, ed. Albert Seay, Critical Texts, no. 2 (Colorado Springs: Colorado College Music Press, 1977). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 50–52. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 90–96. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Anonymi Tractatus de cantu figurativo et de contrapuncto (c. 1430-1520), ed. Christian Meyer, Corpus scriptorum de musica, vol. 41 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 74–76. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Paolo Nalli, "Regulae contrapuncti secundum usum Regni Siciliae, tratte da un codice siciliano del Sec. XV,"
Archivio Storico per la Sicilia Orientale II/9 (1933), 287–88 and 291–92.
Source:
Fritz Feldmann,
Musik und Musikpflege im mittelalterlichen Schlesien, Darstellungen und Quellen zur schlesischen Geschichte, Band 37 (Breslau: Trewendt und Granier, 1938), 193–94.
Source:
Karl-Werner Gümpel and Klaus-Jürgen Sachs, "Das Manuskript Girona 91 und sein Contrapunctus-Traktat,"
Archiv für Musikwissenschaft 45 (1988): 186-205, 193–96. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Summula tractatus metricus de musica glossis commentarioque instructus, ed. Eddie Vetter, Divitiae musicae artis, A/VIIIa (Buren: Knuf, 1988), 39–101. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de proportionibus; Anonymus,
Tractatus de contrapuncto (Ms. Venice, lat. VIII.82, coll. 3047), ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 39 (n.p.: American Institute of Musicology; Hänssler-Verlag, 1997), 44–58. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Tractatus de contrapuncto et de musica mensurabili (Mss. Munich, Staatsbibliothek, Clm. 16208 et 24809), ed. Christian Meyer, Corpus scriptorum de musica, vol. 40 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1995), 47–71. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Martin Staehelin, "Beschreibungen und Beispiele musikalischer Formen in einem unbeachteten Traktat des frühen 15. Jahrhunderts"
Archiv für Musikwissenschaft 31 (1974): 237-242, 239. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Bernhold Schmid, "Der Musiktraktat aus Clm 26812," in
Quellen und Studien zur Musiktheorie des Mittelalters, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 8 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1990), 82–98. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Zsuzsa Czagány, "Ein Diffinitorium musicum aus dem späten 15. Jahrhundert," in
International Musical Society Study Group Cantus Planus: Papers Read at the Fourth Meeting, Pécs, Hungary, 3-8 September 1990 (Budapest: Hungarian Academy of Sciences, Institute for Musicology, 1992), 132–39.
Source:
Antonius de Luca,
Ars cantus figurati;
Capitulum de quattuor mensuris;
Tractatulus mensurationum;
Compendium breve de proportionibus;
Tractatulus prolationum cum tabulis, ed. Heinz Ristory, Corpus scriptorum de musica, vol. 38 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 84–92. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Antonius de Luca,
Ars cantus figurati;
Capitulum de quattuor mensuris;
Tractatulus mensurationum;
Compendium breve de proportionibus;
Tractatulus prolationum cum tabulis, ed. Heinz Ristory, Corpus scriptorum de musica, vol. 38 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 66–73. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Alexander Rausch,
Opusculum de musica ex traditione Iohannis Hollandrini. A Commentary, Critical Edition and Translation, Musical Theorists in Translation, vol. 15 (Ottawa: Institute of Mediaeval Music, 1997), 26–80. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Alexander Rausch, "Mensuraltraktate des Spätmittelalters in Österreichischen Bibliotheken," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 15 (Munich: Bayerische Akademie der Wissenschaften; C. H. Beck, 2001), 284–91. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel and Klaus-Jürgen Sachs, "Der anonyme Contrapunctus-Traktat aus Ms. Vich 208,"
Archiv für Musikwissenschaft 31 (1974): 87-115, 93–97. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:434–69.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:376–79.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:379–98.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:409–11.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:413–15.
Source:
Richard J. Wingell, "Anonymous XI (CS III): An Edition, Translation, and Commentary," 3 vols. (Ph.D. dissertation, University of Southern California, 1973), 1:1–173. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:416–75.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:475–95.
Source: Georgii Anselmi Parmensis De musica: Dieta prima de celesti harmonia, dieta secunda de instrumentali harmonia, dieta tertia de cantabili harmonia, ed. Giuseppe Massera, "Historia musicae cultores" biblioteca, vol. 14 (Florence: Leo S. Olschki, 1961). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:421–33.
Source:
Antonius de Luca,
Ars cantus figurati;
Capitulum de quattuor mensuris;
Tractatulus mensurationum;
Compendium breve de proportionibus;
Tractatulus prolationum cum tabulis, ed. Heinz Ristory, Corpus scriptorum de musica, vol. 38 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 24–59. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Bonaventura da Brescia,
Brevis collectio artis musicae, ed. Albert Seay, Critical Texts, no. 11 (Colorado Springs: Colorado College Music Press, 1980). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Manfred Bukofzer,
Geschichte des englischen Diskants und des Fauxbourdons nach den theoretischen Quellen, Sammlung musikwissenschaftlicher Abhandlungen, Band 21 (Strassbourg: Heitz, 1936), 156–58.
Source:
Egidius Carlerius,
Duo tractatuli de musica, ed. Albert Seay, Critical Texts, no.7 (Colorado Springs: Colorado College Music Press, 1977), 5–13. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Egidius Carlerius,
Duo tractatuli de musica, ed. Albert Seay, Critical Texts, no.7 (Colorado Springs: Colorado College Music Press, 1977), 1–5. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Ciconia,
Nova musica and De proportionibus, ed. and trans. by Oliver B. Ellsworth, Greek and Latin Music Theory, vol. 9 (Lincoln: University of Nebraska Press, 1993), 42–232 (even–numbered pages only). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Ciconia,
Nova musica and De proportionibus, ed. and trans. by Oliver B. Ellsworth, Greek and Latin Music Theory, vol. 9 (Lincoln: University of Nebraska Press, 1993), 234–336 (even–numbered pages only). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Ciconia,
Nova musica and De proportionibus, ed. and trans. by Oliver B. Ellsworth, Greek and Latin Music Theory, vol. 9 (Lincoln: University of Nebraska Press, 1993), 338–60 (even–numbered pages only). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Ciconia,
Nova musica and De proportionibus, ed. and trans. by Oliver B. Ellsworth, Greek and Latin Music Theory, vol. 9 (Lincoln: University of Nebraska Press, 1993), 362–410 (even–numbered pages only). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Ciconia,
Nova musica and De proportionibus, ed. and trans. by Oliver B. Ellsworth, Greek and Latin Music Theory, vol. 9 (Lincoln: University of Nebraska Press, 1993), 412–46 (even–numbered pages only). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: In hoc opere contenta. Arithmetica decem libris demonstrata. Musica libris demonstrata quattuor. Epitome in libros arithmeticos diui Seuerini Boetij. Rithmimachie ludus qui et pugna numerorum appellatur (Paris: Joannes Higmanus et Volgangus Hopilius, 1496), ff. f1r–h6v.
Source: Franchini Gafurii Extractus parvus musice, ed. F. Alberto Gallo, Antiquae musicae italicae scriptores, vol. 4 (Bologna: Università degli Studi de Bologna, Istituto di Studi Musicali e Teatrali - Sez. Musicologia, 1969), 13–208. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis de Muris Musica speculativa, ed. Susan Fast, Musicological Studies, vol. 61 (Ottawa: The Institute of Mediaeval Music, 1994), 332. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Utillissime musicales Regule cunctis summopere necessarie plani cantus simplisis contrapuncti rerum factarum tonorum et artis accentuandi tam exemplariter quam practice per magistrum Guillermi Guersoni de Villalonga nouitter conpilate (Paris: Michel Thouloze, [c. 1495]).
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:273–307.
Source: Guilielmi monachi De preceptis artis musicae, ed. Albert Seay, Corpus scriptorum de musica, vol. 11 ([Rome]: American Institute of Musicology, 1965), 15–59. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Guillermus de Podio,
Ars musicorum libri VI et VIII, ed. Albert Seay, Critical Texts, no. 8 (Colorado Springs: Colorado College Music Press, 1978), 1–8. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Guillermus de Podio,
Ars musicorum libri VI et VIII, ed. Albert Seay, Critical Texts, no. 8 (Colorado Springs: Colorado College Music Press, 1978), 9–34. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel, "Das Enchiridion de principiis musice discipline des Guillermus de Podio,"
Spanische Forschungen der Görresgesellschaft, I/27 (Münster: Aschendorff, 1973), 362–96. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Herbeni Traiectensis De natura cantus ac miraculis vocis, ed. Joseph Smits van Waesberghe, Beiträge zur rheinischen Musikgeschichte, vol. 22 (Cologne: Arno Volk, 1957), 16–78. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Theodor Kroyer, "Die Musica speculativa des Magister Erasmus Heritius," in
Festschrift zum 50. Geburtstag Adolf Sandberger (München: Ferdinand Zierfuss, 1918), 72–91.
Source:
Johannes Hothby,
De arte contrapuncti, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 26 (n.p.: American Institute of Musicology, 1977), 43–44. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de musica mensurabili; Thomas Walsingham,
Regulae de musica mensurabili, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 31 (Neuhausen-Stuttgart: Hänssler Verlag for the American Institute of Musicology, 1983), 27–31. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de musica mensurabili; Thomas Walsingham,
Regulae de musica mensurabili, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 31 (Neuhausen-Stuttgart: Hänssler Verlag for the American Institute of Musicology, 1983), 39–44. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:330–32.
Source:
Johannes Hothby,
Opera omnia de proportionibus; Anonymus,
Tractatus de contrapuncto (Ms. Venice, lat. VIII.82, coll. 3047), ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 39 (n.p.: American Institute of Musicology; Hänssler-Verlag, 1997), 36–42. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Octobi Tres tractatuli contra Bartholomeum Ramum, ed. Albert Seay, Corpus scriptorum de musica, vol. 10 ([Rome]: American Institute of Musicology, 1964), 61–76. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Octobi Tres tractatuli contra Bartholomeum Ramum, ed. Albert Seay, Corpus scriptorum de musica, vol. 10 ([Rome]: American Institute of Musicology, 1964), 17–57. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
De arte contrapuncti, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 26 (n.p.: American Institute of Musicology, 1977), 63–69. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de musica mensurabili; Thomas Walsingham,
Regulae de musica mensurabili, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 31 (Neuhausen-Stuttgart: Hänssler Verlag for the American Institute of Musicology, 1983), 19–24. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de musica mensurabili; Thomas Walsingham,
Regulae de musica mensurabili, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 31 (Neuhausen-Stuttgart: Hänssler Verlag for the American Institute of Musicology, 1983), 51–59. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:333–34.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:328–30.
Source:
Johannes Hothby,
De arte contrapuncti, ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 26 (n.p.: American Institute of Musicology, 1977), 101–3. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Hothby,
Opera omnia de proportionibus; Anonymus,
Tractatus de contrapuncto (Ms. Venice, lat. VIII.82, coll. 3047), ed. Gilbert Reaney, Corpus scriptorum de musica, vol. 39 (n.p.: American Institute of Musicology; Hänssler-Verlag, 1997), 17–21. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Gallicus,
Ritus canendi [Pars prima], ed. Albert Seay, Critical Texts, no. 13 (Colorado Springs: Colorado College Music Press, 1981). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Johannes Gallicus,
Ritus canendi [Pars secunda], ed. Albert Seay, Critical Texts, no. 14 (Colorado Springs: Colorado College Music Press, 1981). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:409–21.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:298–313.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:313–28.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:328–45.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:345–72.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:372–83.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:383–96.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:396–409.
Source:
Johannes de Olomons,
Palma choralis, ed. Albert Seay, Critical Texts, no. 6 (Colorado Springs: Colorado College Music Press, 1977). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Michael Keinspeck und sein Musiktraktat "Lilium musicae planae" Basel 1496, ed. Winfried Ammel, Marburger Beiträge zur Musikforschung, vol. 5 (Marburg: Görich und Weierhäuser, 1970), 111–29. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Dénes von Bartha,
Das Musiklehrbuch einer ungarischen Klosterschule in der Handschrift von Fürstprimas Szalkai (1490), Musicologica hungarica, vol. 1 (Budapest: Magyar nemzeti múzeum, 1934), 63–128.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 2:434–83.
Source:
Higini Angles, "Dos tractats medievals de musica figurada," in
Musikwissenschaftliche Beiträge: Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstag, ed. W. Lott, H. Osthoff, and W. Wolffheim (Berlin: Breslauer, 1929), 10–12.
Source:
Pier Paolo Scattolin, "Il trattato teorico di Paolo da Firenze," in
Mensurabilis musicae tractatuli, vol. 2, Antiquae musicae italicae scriptores, vol. 1 (Bologna: Università degli Studi di Bologna, Istituto di Studi Musicali e Teatrali - Sez. Musicologia, 1975), 63–79. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Albert Seay, "Paolo da Firenze: A Trecento Theorist," in
L'Ars nova italiana del Trecento: Primo convegno internazionale, 23-26 luglio 1959, ed. Bianca Becherini (Certaldo: Centro di studi sull'Ars nova italiana del Trecento, 1962): 118-40, 133–40.
Source:
Prosdocimo de' Beldomandi,
Brevis summula proportionum quantum ad musicam pertinet and Parvus tractatulus de modo monacordum dividendi, ed. and trans. by Jan Herlinger, Greek and Latin Music Theory, vol. 4 (Lincoln: University of Nebraska Press, 1987), 46–62. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:258–61.
Source:
Prosdocimo de' Beldomandi,
Contrapunctus, ed. and trans. by Jan Herlinger, Greek and Latin Music Theory, vol. 1 (Lincoln: University of Nebraska Press, 1984), 26–94. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Prosdocimi de Beldemandis opera 1: Expositiones tractatus pratice cantus mensurabilis magistri Johannis de Muris, ed. F. Alberto Gallo, Antiquae musicae italicae scriptores, vol. 3 (Bologna: Università degli Studi de Bologna, Istituto di Studi Musicali e Teatrali - Sez. Musicologia, 1966), 19–223. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:248–58.
Source:
Prosdocimo de' Beldomandi,
Brevis summula proportionum quantum ad musicam pertinet and Parvus tractatulus de modo monacordum dividendi, ed. and trans. by Jan Herlinger, Greek and Latin Music Theory, vol. 4 (Lincoln: University of Nebraska Press, 1987), 64–118. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Prosdocimo de' Beldomandi,
Plana musica and Musica speculativa, ed. and trans. by Jan Herlinger, Studies in the History of Music Theory and Literature, vol. 4 (Urbana and Chicago: University of Illinois Press, 2008), 34–154. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
D. Raffaello Baralli and Luigi Torri, "Il Trattato di Prosdocimo de' Beldomandi contro il Lucidario di Marchetto da Padova per la prima volta trascritto e illustrato,"
Rivista musicale italiana 20 (1913): 731-62, 731–62.
Source:
Prosdocimo de' Beldomandi,
Plana musica and Musica speculativa, ed. and trans. by Jan Herlinger, Studies in the History of Music Theory and Literature, vol. 4 (Urbana and Chicago: University of Illinois Press, 2008), 156–252. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:193–99.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:200–228.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:228–48.
Source:
Claudio Sartori,
La notazione italiana del trecento in una redazione inedita del "Tractatus practice cantus mensurabilis ad modum ytalicorum" di Prosdocimo de Beldemandis (Florence: Leo S. Olschki, 1938), 35–71.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 1–24.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 25–51.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 52–61.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 62–76.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 77–92.
Source:
Johannes Wolf,
Musica practica Bartolomei Rami de Pareia Bononiae, impressa opere et industria ac expensis magistri Baltasaris de Hiriberia MCCCCLXXXII: Nach den Originaldrucken des Liceo musicale mit Genehmigung der Commune von Bologna, Publikationen der Internationalen Musikgesellschaft, Beihefte, vol. 2 (Leipzig: Breitkopf und Härtel, 1901), 93–112.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:264–73.
Source:
Waclaw Gieburowski,
Die "Musica Magistri Szydlovite": ein polnischer Choraltraktat des XV. Jahrh. und seine Stellung in der Choraltheorie des Mittelalters, mit Beruecksichtigung der Choraltheorie und -Praxis des XV. Jahrh. in Polen, sowie der Nachtridentinischen Choralreform (Posen: St. Adalbert, 1915), 9–72.
Source:
Petrus Tallanderius,
Lectura, ed. Albert Seay, Critical Texts, no. 4 (Colorado Springs: Colorado College Music Press, 1977). As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Angiolamaria Guarneri Galuzzi,
Il "De partitione licterarum monocordi" di Jacobus Theatinus, Instituta et Monumenta, II/4 (Cremona: Fondazione Claudio Monteverdi, 1975), 29–52. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Raffaele Casimiri, "Teodono de Caprio non Teodorico de Campo, Teorico musicale italiano del sec. XV. Un suo trattato inedito,"
Note d'Archivio per la storia musicale 19 (1942): 38-42, 94–98.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2:165–77. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:191–95.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:195–200.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:76–119.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:119–47.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:147–53.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2:11–89. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2:90–145. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2:146–57. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:177–91.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2:31–57. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:1–16.
Source:
Karl Weinmann, ed.,
Johannes Tinctoris (1445-1511) und sein unbekannter Traktat "De inventione et usu musicae" (Regensburg: F. Pustet, 1917), 27–46.
Source:
Ronald Woodley, "The Printing and Scope of Tinctoris's Fragmentary Treatise De inventione et vsv mvsice,"
Early Music History 5 (1985): 239-268, 259–68. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl Weinmann, "Ein unbekannter Traktat des Johannes Tinctoris," in
Riemann-Festschrift: Gesammelte Studien: Hugo Riemann zum sechzigsten Geburtstage überreicht von Freunden und Schülern (Leipzig: Hesse, 1909), 269–71.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:65–104. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:54–66.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:143–67. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:16–41.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:153–77.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 2a:9–60. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:109–20. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:185–98. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:125–38. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Johannis Tinctoris Opera theoretica, ed. Albert Seay, 3 vols. in 2, Corpus scriptorum de musica, vol. 22 ([Rome]: American Institute of Musicology, 1975-78), 1:173–79. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:66–70.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:41–46.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:70–76.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 4:46–53.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/1 ([Rome]: American Institute of Musicology, 1959), 13–121. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/1 ([Rome]: American Institute of Musicology, 1959), 121–230. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/2 ([Rome]: American Institute of Musicology, 1960), 1–53. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/2 ([Rome]: American Institute of Musicology, 1960), 54–167. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/2 ([Rome]: American Institute of Musicology, 1960), 167–266. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/3 ([Rome]: American Institute of Musicology, 1962), 1–84. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/3 ([Rome]: American Institute of Musicology, 1962), 85–226. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source: Ugolini Urbevetanis Declaratio musicae disciplinae, ed. Albert Seay, Corpus scriptorum de musica, vol. 7/3 ([Rome]: American Institute of Musicology, 1962), 227–53. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Gerhard Pietzsch, "Die Pflege der Musik an den Universitäten bis zur Mitte des 16. Jahrhunderts,"
Mitteilungen des Vereines für Geschichte der Deutschen in Böhmen 73 (1935): 112-18, 112–18.
Source: Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., ed. Edmond de Coussemaker (Paris: Durand, 1864-76; reprint ed., Hildesheim: Olms, 1963), 3:262–64.
Source: Johannis Wylde Musica manualis cum tonale, ed. Cecily Sweeney, Corpus scriptorum de musica, vol. 28 (Neuhausen-Stuttgart: American Institute of Musicology, 1982), 43–206. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel,
Die Musiktraktate Conrads von Zabern, Akademie der Wissenschaften und der Literatur, Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1956, Nr. 4 (Wiesbaden: Steiner, 1956), 260–82. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel,
Die Musiktraktate Conrads von Zabern, Akademie der Wissenschaften und der Literatur, Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1956, Nr. 4 (Wiesbaden: Steiner, 1956), 245–59. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.
Source:
Karl-Werner Gümpel,
Die Musiktraktate Conrads von Zabern, Akademie der Wissenschaften und der Literatur, Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1956, Nr. 4 (Wiesbaden: Steiner, 1956), 184–244. As a work, this treatise is in the public domain. As a raw transcription, this file is free of copyright and may be reproduced and distributed freely.