Source: Adalboldi episcopi Ultraiectensis Epistola cum tractatu de musica instrumentali humanaque ac mundana, ed. Joseph Smits van Waesberghe, Divitiae musicae artis, A/II (Buren: Knuf, 1981), 12–29. 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:
Jay A. Huff, ed. and trans.,
Ad organum faciendum et Item de organo, Musical Theorists in Translation, vol. 8 (Brooklyn, NY: Institute of Mediaeval Music, [1963]), 41–67 (odd). 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:
Hans Heinrich Eggebrecht and Frieder Zaminer, eds.,
Ad organum faciendum. Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit, Neue Studien zur Musikwissenschaft, vol. 3 (Mainz: B. Schotts Söhne, 1970), 45–49 and 111–15.
Source:
Hans Heinrich Eggebrecht and Frieder Zaminer, eds.,
Ad organum faciendum. Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit, Neue Studien zur Musikwissenschaft, vol. 3 (Mainz: B. Schotts Söhne, 1970), 149–50.
Source:
Hans Heinrich Eggebrecht and Frieder Zaminer, eds.,
Ad organum faciendum. Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit, Neue Studien zur Musikwissenschaft, vol. 3 (Mainz: B. Schotts Söhne, 1970), 159–60.
Source:
Hans Heinrich Eggebrecht and Frieder Zaminer, eds.,
Ad organum faciendum. Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit, Neue Studien zur Musikwissenschaft, vol. 3 (Mainz: B. Schotts Söhne, 1970), 175.
Source:
Jacques Chailley, ed.,
Alia musica (Traité de musique du IXe siècle): Edition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Age (Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis, 1965), 85–88, 90–97, 99–111, 113–18, 120–30, 133–45, 147–74, 176–81, and 183–212. 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:
Terence Bailey, ed.,
Commemoratio brevis de tonis et psalmis modulandis: Introduction, Critical Edition, Translation, Ottawa Mediaeval Texts and Studies, vol. 4 (Ottawa: University of Ottawa Press, 1979), 26–106 (even 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:
Christian Meyer, "Aus der Werkstatt des Kompilators," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 2, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 13 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1997), 7–9. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 157–78. 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: De numero tonorum litterae episcopi A. ad coepiscopum E. missae ac Commentum super tonos episcopi E. (ad 1000), ed. Joseph Smits van Waesberghe, Divitiae musicae artis A/I (Buren: Knuf, 1975), 24–93 (even 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: De numero tonorum litterae episcopi A. ad coepiscopum E. missae ac Commentum super tonos episcopi E. (ad 1000), ed. Joseph Smits van Waesberghe, Divitiae musicae artis A/I (Buren: Knuf, 1975), 24–93 (odd 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 179–81. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 214–21. 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:
Terence Bailey, "De modis musicis: A New Edition and Explanation,"
Kirchenmusikalisches Jahrbuch 61-62 (1977-78): 47-60, 50–54. 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 de modorum formulis et tonarius, ed. Clyde W. Brockett, Corpus scriptorum de musica, vol. 37 (n.p.: American Institute of Musicology / Hänssler-Verlag, 1997), 46–128. 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 saeculi decimi vel undecimi tractatus de musica "Dulce ingenium musicae," ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 6 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1987), 14–26. 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 saeculi decimi vel undecimi tractatus de musica "Dulce ingenium musicae," ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 6 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1987), 27–43. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 182–84. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 187–205. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 205–13. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 233–35 (left column 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 233–35 (right column 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 236–37. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 240. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 241. 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:
"Anonyme Mensur der Orgelpfeifen. (Ex codice Bernensi Martiani Capellae 56b. Mitgetheilt von Schubiger Spicilegien S. 82. X. Jahrhundert.)," in
Studien zur Geschichte der Notenschrift, ed. Hugo Riemann (Leipzig: Breitkopf and Härtel, 1878), 300.
Source:
Christian Meyer, "Aus der Werkstatt des Kompilators," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 2, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 13 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1997), 10–12. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 238. 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:
"Anonyme Monochordeintheilung. (Cod. Paull. 1493, fol. 52b.)," in
Studien zur Geschichte der Notenschrift, ed. Hugo Riemann (Leipzig: Breitkopf and Härtel, 1878), 301.
Source:
Joseph Smits van Waesberghe, "De commentator anonymus in Micrologum Guidonis Aretini en zijn verhouding tot de Luiksche muziekschool," in
Muziekgeschiedenis de Middeleeuwen, 3 vols. (Tilburg: Bergmans, 1936–46), 1:154–70.
Source:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 224–32. 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:
"Anonyme Mensur der Orgelpfeifen. (Cod. Paull. 1493. Fol. 61a.)," in
Studien zur Geschichte der Notenschrift, ed. Hugo Riemann (Leipzig: Breitkopf and Härtel, 1878), 301.
Source:
Karl-Werner Gümpel, "Spicilegium Rivipullense,"
Archiv für Musikwissenschaft 35 (1978): 57-61, 57–61. 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:
Tilden A. Russell, "A Poetic Key to a Pre-Guidonian Palm and the Echemata,"
Journal of the American Musicological Society 34 (1981): 109-118, 110.
Source:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 222–23. 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:
Joseph Smits van Waesberghe, "Relazione inedita di una lezione di Guido d'Arezzo sulla teoria della musica,"
Note d'Archivio per la storia musicale 13 (1936): 38-51, 42–45.
Source:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 1–29, 31–59. 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:
Hans Schmid, ed.,
Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 3 (Munich: Bayerische Akademie der Wissenschaften / C. H. Beck, 1981), 60–156. 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:
Aribo,
De musica, ed. J. Smits van Waesberghe, Corpus scriptorum de musica, vol. 2 ([Rome]: American Institute of Musicology, 1951), 1–72. 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: Aureliani Reomensis Musica disciplina, ed. Lawrence Gushee, Corpus scriptorum de musica, vol. 21 ([Rome]: American Institute of Musicology, 1975), 53–135. 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: Aureliani Reomensis Musica disciplina, ed. Lawrence Gushee, Corpus scriptorum de musica, vol. 21 ([Rome]: American Institute of Musicology, 1975), 136–53. 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:
Joseph Perry Ponte III, "Aureliani Reomensis Musica disciplina: A Revised Text, Translation, and Commentary," 3 vols. (Ph.D. dissertation, Brandeis University, 1961), 2:1–199 (odd 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:
Franz-Josef Schmale,
Die Briefe des Abtes Bern von Reichenau, Veröffentlichungen der Kommission für Geschichtliche Landeskunde in Baden-Württemberg A/6 (Stuttgart: W. Kohlhammer, 1961), 17–19.
Source: Bernonis Augiensis Abbatis De arte musica disputationes traditae: De mensurando monochordo, ed. Joseph Smits van Waesberghe, Divitiae musicae artis A/VIa (Buren: Knuf, 1978), 27, 42–55, 59, 61, 65, 67, 71, 73, 75, 77, 84–85, 91–92, 95, 103–4,111–14, and 116–19. 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: Bernonis Augiensis Abbatis De arte musica disputationes traditae: Quae ratio est inter tria opera de arte musica Bernonis Augiensis, ed. Joseph Smits van Waesberghe, Divitiae musicae artis A/VIb (Buren: Knuf, 1979), 31–37. 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: Guidonis Aretini Micrologus, ed. Joseph Smits van Waesberghe, Corpus scriptorum de musica, vol. 4 ([Rome]: American Institute of Musicology, 1955), 79–234. 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), 2:78–115.
Source: Tres tractatuli Guidonis Aretini: Guidonis "Prologus in Antiphonarium," ed. Joseph Smits van Waesberghe, Divitiae musicae artis, A/III (Buren: Knuf, 1975), 58–81. 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: Guidonis Aretini "Regulae rhythmicae", ed. Joseph Smits van Waesberghe and Eduard Vetter, Divitiae musicae artis A/IV (Buren: Knuf, 1985), 92–133. 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), 2:115–16.
Source: Musica Domni Heinrici Augustensis magistri, ed. Joseph Smits van Waesberghe, Divitiae musicae artis, A/VII (Buren: Knuf, 1977), 35–53. 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: Musica Hermanni Contracti, ed. and trans. Leonard Ellinwood, Eastman School of Music Studies, no. 2 (Rochester, New York: Eastman School of Music, 1936).
Source:
Reinhold Hammerstein, "Instrumenta Hieronymi,"
Archiv für Musikwissenschaft 16 (1959): 117-134, 120–22, 124–25, 127, 129–31. 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: 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), 2:74–78.
Source:
Johannes Affligemensis,
De musica cum tonario, ed. J. Smits van Waesberghe, Corpus scriptorum de musica, vol. 1 ([Rome]: American Institute of Musicology, 1950), 43–200. 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), 2:117–49.
Source:
Michel Huglo, "Der Prolog des Odo zugeschriebenen 'Dialogus de Musica',"
Archiv für Musikwissenschaft 28 (1971): 134-146, 138–39. 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:
Odorannus de Sens,
Opera omnia: Textes édités, traduits et annotés par Robert-Henri Bautier et Monique Gilles, et, pour la partie musicologique, par Marie-Elisabeth Duchez et Michel Huglo (Paris: Centre national de la recherche scientifique, 1972), 150–225. 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 Breviarium de musica und Versus monocordi des Mönchs Oliba von Ripoll," in
Quellen und Studien zur Musiktheorie des Mittelalters, vol. 3, ed. Michael Bernhard, Bayerische Akademie der Wissenschaften, Veröffentlichungen der Musikhistorischen Kommission, Band 15 (München: Bayerische Akademie der Wissenschaften; C. H. Beck, 2001), 110–19. 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: Codex Oxoniensis Bibl. Bodl. Rawl. C 270: Pars A, "De vocum consonantiis" ac "De re musica" (Osberni Cantuariensis?), ed. Joseph Smits van Waesberghe, Divitiae musicae artis A/Xa (Buren: Knuf, 1979), 14–38. 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:
Edna Marie Le Roux, RSM, "The
De harmonica and
Tonarius of Regino of Prüm" (PhD diss., Catholic University of America, 1965), 22–84. 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: 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), 2:1–73.
Source:
Edna Marie Le Roux, RSM, "The
De harmonica and
Tonarius of Regino of Prüm" (PhD diss., Catholic University of America, 1965), 137–294 and (left column only) 303–5. 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: Willehelmi Hirsaugensis Musica, ed. Denis Harbinson, Corpus scriptorum de musica, vol. 23 ([Rome]: American Institute of Musicology, 1975), 11–75. 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.