Table of Contents

List of illustrations; Foreward Ian Bent; Preface; Part I. Beginnings: 1. Prologue: Exempli gratia …; 2. Music theory incunabula: printed books, printed music; Part II. 1520–1540: Pietro Aron and Seybald Heyden: 3. Pietro Aron and Petrucci's prints; 4. Music anthologies, theory treatises, and the Reformation: Nuremberg in the 1530s and 1540s; Part III. The Polyphony of Heinrich Glarean's Dodecachordon (1547): 5. Exempla, commonplace books, and writing theory; 6. The polyphony of the Dodecachordon; Part IV. Gioseffo Zarlino's Le Istitutioni Harmoniche (1558): 7. Composition and theory mediated by print culture; 8. 'On the modes': the citations of Le Istitutioni Harmoniche part IV; Part V. Readings Past and Present: 9. Exempli gratia: a reception history of Magnus es tu Domine/Tu pauperum refugium; 10. Epilogue: reading theorists reading (music); Bibliography; Index.

Promotional Information

Explores fundamental questions about how music examples were read in Renaissance theory books.

About the Author

Cristle Collins Judd is Assistant Professor of Music Theory at the University of Pennsylvania and editor of Tonal Structures in Early Music (1998).

Reviews

'... present[s] some interesting ideas about the many levels at which theory has shaped and influenced our understanding of music.' BBC Music 'Judd's book is a significant contribution to the history of music theory and ... the history of music theorists ... this is a valuable book that looks at familiar material in an original way. It received the Society of Music Theory's Wallace Berry Award in November 2001, deservedly so in my opinion, and it will be essential reading for anyone interested in the history of music theory and of writing about music in general.' American Musicological Society