Musical Theory in the Renaissance

Cristle Collins Judd is Dean for Academic Affairs and Professor of Music at Bowdoin College, USA.

• Contents: Introduction; Part I Terms and Topics: Resfacta and Cantare Super Librum, Margaret Bent; On compositional process in the 15th century, Bonnie J. Blackburn; On diminution and proportion in 15th-century music theory, Ruth I. DeFord; Is mode real? Pietro Aron, the octenary system, and polyphony, Harold Powers; Renaissance modal theory: theoretical, compositional, and editorial perspectives, Cristle Collins Judd. Part II Influences and Authorities: Renaissance music theory as literature: on reading the Proportionale Musices of Iohannes Tinctoris, Ronald Woodley; Aristoxenus redeemed in the Renaissance, Claude V. Palisca; Modes and planetary song: the musical alliance of ethics and cosmology, Gary Tomlinson; Defending the Dodecachordon: ideological currents in Glarean’s modal theory, Sarah Fuller; Heinrich Glarean reading and editing Boethius, Inga Mai Groote. Part III Life and Works of Individual Theorists: The tradition and science: the Istitutioni harmoniche of Gioseffo Zarlino, Paolo da Col; Introduction, Maria R. Maniates. Part IV National Traditions and Dissemination: Lute tablature instructions in Italy: a survey of the regole from 1507 to 1759, Dinko Fabris; Deutsche Musiktheorie im 16.Jahrundert: Geistes- und institutionsgeschichtliche Grundlagen, Klaus Wolfgang Niemöller; You can tell a book by its cover: reflections on format in English music 'theory', Jessie Ann Owens; La diffusion de textes théoriques français à la renaissance, Philippe Vendrix; Music and music theory in the universities of Central Europe during the 15th century, Tom R. Ward; The dissemination and use of European music books in early modern Asia, David R.M. Irving; Name index.