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2: Learning

Digital Facsimiles:
  • Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1597 edition) FACSIMILE
  • Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1771 edition) FACSIMILE
  • Heinrich Glarean, Dodecachordon (Basel, 1548)  FACSIMILE
  • Music manuscript of falsobordoni (improvised harmonizations) from the Papal Chapel in Rome, from Rome Reborn:  The Vatican Library and Renaissance Culture.  Exhibition assembled by the Library of Congress, 1993. LINK
  • Johannes Tinctoris, Expositio manus [treatise on the Guidonian hand], in modern edition and translation, ed. Ronald Woodley.  LINK
Didactic Duos in Modern Edition:
  • Orlando di Lasso, Bicinia seu duarum vocum cantiones aliquot sacrae (Paris, 1577). Public domain modern editions:  IMSLP
  • Bent, Margaret. "'Resfacta' and 'Cantare Super Librum'." Journal of the American Musicological Society 36 (1983), 371-391. http://www.jstor.org/stable/831232 
  • Blackburn, Bonnie J. “On Compositional Process in the Fifteenth Century.” Journal of the American Musicological Society 40 (1987), 210-284. http://www.jstor.org/stable/831517 
  • Brown, Howard Mayer. “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance.” Journal of the American Musicological Society 35 (1982), 1-48. http://www.jstor.org/stable/831286 
  • Forney, Kristine. "'Nymphes gayes en abry du Laurier': Music Instruction for the Bourgeois Woman." Musica Disciplina 49 (1995), 151-87. http://www.jstor.org/stable/20532395 
  • Mead, Sarah. "Renaissance Theory." In Jeffrey Kite-Powell, ed. A Performer's Guide to Renaissance Music. 2nd ed., pp. 342-73. Bloomington: Indiana University Press, 2007. http://www.worldcat.org/oclc/276762615 
  • Mengozzi, Stefano. The Renaissance Reform of Medieval Music Theory : Guido of Arezzo between Myth and History. Cambridge and New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/465366337 
  • Owens, Jessie Ann. Composers at work: The craft of musical composition, 1450-1600. Oxford: Oxford University Press, 1997. http://www.worldcat.org/oclc/33047219 
  • Perkins, Leeman. "The Conceptualization of Music in the Renaissance." In Music in the Age of the Renaissance, pp. 969-1057. New York: W.W. Norton, 1999. http://www.worldcat.org/oclc/39335162 
  • Schubert, Peter N. “Counterpoint Pedagogy in the Renaissance.” In The Cambridge history of Western music theory, 503-533. Cambridge: Cambridge University Press, 2002. http://www.worldcat.org/oclc/45166705 
  • Sternfeld, Frederick W. "Music in the Schools of the Reformation." Musica disciplina 2 (1948), 99-122. 
  • *W. Murray, Russell, Susan Forscher Weiss, and Cynthia Cyrus, eds. Music education in the Middle Ages and the Renaissance. Bloomington: Indiana University Press, 2010. http://www.worldcat.org/oclc/657643811 
  • Wegman, Rob C. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500.” Journal of the American Musicological Society 49 (1996), 409-479. http://www.jstor.org/stable/831769
  • Wright, Craig M. Music and Ceremony at Notre Dame of Paris, 500-1550. Cambridge Studies in Music. New York: Cambridge University Press, 1989.http://www.worldcat.org/oclc/246807595 
Richard Freedman,
Jul 24, 2012, 1:23 PM