Christopher R. Wilson, The University of Reading, UK

'This is a valuable publication; it is good to have the content of the two treatises available in such an accessible form, while the interpretative and background material not only illuminates the treatises, but also places their content in a fairly wide historical context, particularly in relation to 16th- and 17th-century musical theory.' The Consort 'Wilson's volume is without doubt a most welcome transcription of two treatises whose importance has yet to be completely realized... Wilson's volume will surely prompt a reconsideration of the place of England, abstract instrumental music, and other genres in our interpretation of the early Baroque.' Music and Letters

• Contents: Series editor's preface; Preface; Introduction: Background to Campion; Date of treatise; Campion and Coprario; Campion's treatise after 1620; Campion and Renaissance theory; Campion's preface on the 'Scale'; Campion's harmonic thinking; Campion and Calvisius; Editorial note: A new Way of Making Fowre Parts in Counterpoint: The preface; Of counterpoint; Of the tones of musicke; Of the taking of all concords, perfect and imperfect; Of the lesser or imperfect third; Of the greater or perfect third; Of the lesser sixt; Of the greater sixt; Giovanni Coprario, Rules how to compose; Appendix; Bibliography; Index.

Christopher R. Wilson, The University of Reading, UK

'This is a valuable publication; it is good to have the content of the two treatises available in such an accessible form, while the interpretative and background material not only illuminates the treatises, but also places their content in a fairly wide historical context, particularly in relation to 16th- and 17th-century musical theory.' The Consort 'Wilson's volume is without doubt a most welcome transcription of two treatises whose importance has yet to be completely realized... Wilson's volume will surely prompt a reconsideration of the place of England, abstract instrumental music, and other genres in our interpretation of the early Baroque.' Music and Letters

• Contents: Series editor's preface; Preface; Introduction: Background to Campion; Date of treatise; Campion and Coprario; Campion's treatise after 1620; Campion and Renaissance theory; Campion's preface on the 'Scale'; Campion's harmonic thinking; Campion and Calvisius; Editorial note: A new Way of Making Fowre Parts in Counterpoint: The preface; Of counterpoint; Of the tones of musicke; Of the taking of all concords, perfect and imperfect; Of the lesser or imperfect third; Of the greater or perfect third; Of the lesser sixt; Of the greater sixt; Giovanni Coprario, Rules how to compose; Appendix; Bibliography; Index.

Christopher R. Wilson, The University of Reading, UK

'This is a valuable publication; it is good to have the content of the two treatises available in such an accessible form, while the interpretative and background material not only illuminates the treatises, but also places their content in a fairly wide historical context, particularly in relation to 16th- and 17th-century musical theory.' The Consort 'Wilson's volume is without doubt a most welcome transcription of two treatises whose importance has yet to be completely realized... Wilson's volume will surely prompt a reconsideration of the place of England, abstract instrumental music, and other genres in our interpretation of the early Baroque.' Music and Letters

• Contents: Series editor's preface; Preface; Introduction: Background to Campion; Date of treatise; Campion and Coprario; Campion's treatise after 1620; Campion and Renaissance theory; Campion's preface on the 'Scale'; Campion's harmonic thinking; Campion and Calvisius; Editorial note: A new Way of Making Fowre Parts in Counterpoint: The preface; Of counterpoint; Of the tones of musicke; Of the taking of all concords, perfect and imperfect; Of the lesser or imperfect third; Of the greater or perfect third; Of the lesser sixt; Of the greater sixt; Giovanni Coprario, Rules how to compose; Appendix; Bibliography; Index.