NOTES

1. The Origins of the Measure in the Seventeenth Century

1. Sebald Heyden, De arte canendi (1540), trans. Clement A. Miller (Rome, 1972), pp. 19-20.

2. J. A. Bank, Tactus, Tempo and Notation in Mensural Music from the 13th to the 17th Century (Amsterdam, 1972), pp. 113-15.

3. Andreas Omithoparchus his Micrologus . . . [trans.] by John Dowland lutenist (London, 1609). Book II, chap. 6, p. 46. Reprinted in A Compendium of Musical Practice, ed. Gustave Reese and Steven Ledbetter (New York, 1973), p. 166.

4. For example, Bartolomé Ramos de Pareja, Musica practica (Bologna, 1482), ed. J. Wolf in Publicationen der Internationalen Musikgesellschaft, Beihefte. Folge 1 (Leipzig, 1901), p. 83; Franchinus Gaffurius, Practica musicae (Milan, 1496), Lib. II, cap. 3; Marin Mersenne, Harmonie universelle (Paris, 1636; facsimile ed., Paris, 1963), Livre cinquiesme de la composition, Prop. XI, p. 324v.; and Johann Rudolf Ahle, Kurze! doch deutliche Anleitung zu der lieblich- und löblichen Singekunst (Muhlhausen, 1690), p. 34.

5. Andreas Omithoparchus, Micrologus, chap. 6, p. 46.

6. Ibid.

7. Ibid.

8. Gioseffo Zarlino, The Art of Counterpoint, trans. Marco and Palisca, pp. 118-19.

9. Mersenne, Harmonie universelle, Livre cinquiesme de la composition, Proposition XI, p. 324.

10. Ibid., pp. 324-25.

11. Agostino Pisa, Battuta della musica dichiarata (Rome, 1611). Facsimile edition, ed. Walther Dürr (Bologna, 1965). See also Putnam Aldrich’s Rhythm in Seventeenth-Century Italian Monody (New York, 1966), p. 25.

12. Pier Francesco Valentini, “Trattato della battuta musicale” (Rome: Vatican Library Ms. Barb. lat. 4417,1643). See also Margaret Murata’s “P. F. Valentini on Tactus and Proportion.” Professor Murata kindly allowed me to see her article before it was published in the Proceedings of the Frescobaldi Quadricentennial, Madison, Wisconsin.

13. Pier Francesco Valentini, “Battuta,” p. 76, para. 154.

14. Ibid., p. 138, para. 230.

15. Ibid., p. 27, para. 51.

16. Ibid., p. 34, para. 64, and p. 62, para. 129.

17. Ibid., pp. 44-45, para. 90, and p. 138, para. 230.

18. William Barley, A new booke of tabliture (London, 1596), p. 4 verso.

19. Thomas Ravenscroft, A briefe discourse of the true (but neglected) use of charact’ring the degrees by their perfection, imperfection, and diminution in measurable musicke, against the common practice and custom of these times (London, 1614), p. 2.

20. Christopher Simpson, A compendium of practical musick (London, 1667), pp. 18-19.

21. Francesco Piovesana Sacilese, Misure harmoniche rego late (Venice, 1627), p. 60, cited in Carl Dahlhaus, “Zur Geschichte des Taktschlagens im frühen 17. Jahrhundert,” in Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, ed. Robert Marshall (Kassel, 1974), pp. 117-23.

22. Lorenzo Penna, Li primi albori musicali (4th ed., Bologna, 1684), p. 36. See also Georg Schünemann, Geschichte des Dirigierens (Leipzig, 1913), pp. 122f.

23. Johann Quirsfeld, Breviarum musicum (Dresden, 1688), p. 17.

24. Daniel Merck, Compendium musicae Instrumentalis chelicae (Augsburg, 1659), pp. 5-6.

25. Curt Sachs, Rhythm and Tempo (New York, 1953), p. 223.

26. Ravenscroft, A brief discourse, p. 19.

27. Wolfgang Caspar Printz, Compendium musicae signatoriae & modulatoriae vocalis (Dresden, 1689), unpaginated.

28. De La Voye-Mignot, Traité de musique (Paris, 1656), p. 13.

29. Henry Purcell, A choice collection of lessons for the harpischord or spinnet (London, 1696), unpaginated.

30. Carl Dahlhaus, “Zur Entstehung des modernen Taktsystems im 17. Jahrhundert,” Archiv für Musikwissenschaft 18 (1961): 227-29.

31. Bank, Tactus, Tempo and Notation, p. 249.

32. This interpretation of Praetorius’s exposition is in agreement with that of Dahlhaus’s article cited in n. 30, pp. 229-30, but not with that of Hans Otto Hieckel in “Der Madrigal- und Motettentypus in der Mensurallehre des Michael Praetorius,” Archiv für Musikwissenschaft 19 and 20 (1962-63): 40-55.

33. Michael Praetorius, Syntagma musicum (Wolfenbüttel, 1619), III, cap. vii, p. 49.

34. Ibid., III, pp. 50-51.

35. See Irmgard Herrmann-Bengen, Tempobezeichnungen, Ursprung, Wandel, im 17. und 18. Jahrhundert (Tutzing, 1959), pp. 44-48.

36. Georg Quitschreiber, Musikbuchlein für die Jugend (Jena, 1607), chaps. IV, VII.

37. These include Anon., Brevia mvsicae rvdimenta latino belgicae (Amsterdam, 1591; reprinted 1621), chap. X; Nikolaus Gengenbach, Musica nova, newe Singekunst (Leipzig, 1626), pp. 78-79; Joan Albert Ban, Zangh-Bloemzel (Amsterdam, 1642); De La Voye-Mignot, Traité de musique; Wolfgang Hase, Grundliche Einführung in die edle Musik (Gosslar, 1657); Johann Quirsfeld, Breviarum musicum; Wolfgang Caspar Printz, Compendium musicae signatoriae; Giovanni Bononcini, Musico prattico (Bologna, 1673); Johann Rudolf Ahle, Kurze doch deutliche Anleitung zu der lieblich- und löblichen Singekunst (Mülhausen, 1690); Georg Muffat, Preface to Florilegium primum, DTOe, Band I, 2 Hälfte (Wien, 1894); and John Playford, Introduction to the skill of musick (London, 1697).

38. Daniel Speer, Grund-richtiger/ kurtz/ leicht/ und nöthiger Unterricht der musikalischen Kunst (Ulm, 1687), p. 33.

39. Merck, Compendium musicae, p. 6.

40. Saint Lambert, Les Principes du clavecin, contenant une explication exacte de toute ce qui concerne la tablature & le clavier (Paris, 1702), p. 18. Trans. Rebecca Harris-Warrick, Principles of the Harpsichord by Monsieur de Saint Lambert (Cambridge, 1984), p. 37. The translation used here is slighdy different.

41. De La Voye-Mignot, Traité, p. 12.

42. Antoine du Cousu, La musique universelle (Paris, 1658), p. 60.

43. This example is taken from Philidor’s 1690 Ms. copy, the earliest known source of the music for this ballet. (Paris: Bibliothèque du Conservatoire Ms. Rés. F. 514 [R. 1822]), p. 31.

44. Jean Rousseau, Methode claire, certaine et facile pour apprendre à chanter la musique (Paris, 1683), p. 33.

45. Perrine, Livre de musique pour le lut (Paris, 1679), p. 48.

46. Etienne Loulié, Elemens ou principes de musique (Paris, 1696), p. 32.; trans. Albert Cohen, Elements or Principles of Music (Brooklyn, 1965), p. 27.

47. Charles Masson, Nouveau traité des règles pour la composition de la musique (Paris, 1705), p. 7.

48. Georg Muffat, Preface to Florilegium primum, ed. Heinrich Rietsch. Denkmäler der Tonkunst in Österreich, II Band, Zweite Hälfte (Vienna: Artaria, 1895).

49. Etienne Loulié, Elements , pp. 27—30 of Albert Cohen’s translation.

50. R. Peter Wolf, “Metrical Relationships in French Recitative of the Seventeenth and Eighteenth Centuries,” Recherches sur la Musique Française Classique 18 (1978): 29-49.

51. Georg Falck, Idea boni cantoris (Nürnberg, 1688), pp. 63-65.

52. Printz, Compendium musicae signatoriae, p. 17.

53. Masson, Nouveau traité, p. 7.

54. Pier Francesco Valentini, “Trattato del tempo, e del modo, e della prolatione.” (Rome: Vatican Library Ms. Barb. lat. 4419,1643), pp. 300-459.

55. Dahlhaus, “Modernen Taktsystems,” pp. 230—36.

56. This classification of proportions by ancient mathematical terminology is fully explained by Thomas Morley in the Annotations to A plaine and easie introduction to practicall musicke (London, 1597). The annotation refers to p. 27, vers. 18 in the original edition, and is found on pp. 127—28 of the modern edition by R. Alec Harman (New York, 1971).

57. Bononcini, Musico prattico, p. 14.

58. Michael Praetorius, Syntagma musicum, III, pp. 52—54.

59. Ibid., p. 79, diagram.

60. Dahlhaus, “Modernen Taktsystems,” pp. 232-33.

61. Michael Praetorius, Syntagma musicum III, pp. 73-78.

62. Bononcini, Musico prattico, pp. 20—23.

63. Penna, Li primi albori, pp. 36-40.

64. Ibid., p. 40.

65. This is called “void notation” in the New Grove Dictionary, vol. 13, p. 377.

66. Wolfgang Caspar Printz, Compendium musicae signatoriae, 2d ed. (Dresden, 1714), p. 16.

67. Bononcini, Musico prattico p. 11.

68. Ibid., pp. 17-24.

69. Girolamo Frescobaldi, Il primo libro di capricci (Rome, 1624). From the “av- vertimento,” or preface, reprinted in Sartori, Bibliografia della musica strumentale italiana stampata in Italia fino al 1700 (Florence, 1952), p. 295-96. See also Frederick Hammond, Girolamo Frescobaldi (Cambridge, Mass., 1983), p. 226—27.

70. Giovan Giacomo Carissimi, Ars cantandi; Das ist richtiger und aussfürlicher Weg/ die Jugend aus dem rechten Grund in der Sing Kunst zu unterrichten (Augspurg, 1696), p. 16.

71. Ibid., p. 15.

72. Printz, Compendium musicae signatoriae, chap. 4, p. 17. Repeated unchanged in the second edition of 1714.

73. Loulié, Elements, p. 29.

74. Printz, Compendium musicae signatoriae, in both first and second editions, p. 17.

75. Jean Rousseau, Méthode . . . pour apprendre à chanter (Paris, 1683), pp. 33-45.

76. Ibid., p. 36.

77. Merck, Compendium musicae, p. 11.

78. Ibid., p. 6.

79. Loulié, Elements, p. 29.

80. Oliver Strunk, Source Readings (New York, 1950), p. 444.

81. Saint Lambert, Principles of the Harpsichord, p. 45.

82. Ibid.

83. William Bathe, A briefe introduction to the skill of song (London, [1596]).

84. A new and easie method to learn to sing by book: Whereby one (who hath a good Voice and Ear) may, without other help learn to sing true by Notes. (London, 1686), p. 47.

85. John Playford, An introduction to the skill of musick (London, 1697), p. 9.

86. Thomas Mace, Musick’s monument (London, 1676), and the Manchester Ms., ca. 1660, in the Henry Watson Music Library of the Central Library, Manchester, England.

87. Charls Butler, The principles of musik (London, 1636), p. 25.

88. Ibid., p. 26.

89. Herrmann-Bengen, Tempobezeichnungen, pp. 40-75.

90. Merck, Compendium musicae, p. 16.

2. Time Signatures in the Eighteenth Century

1. Etienne Loulié, Elements or Principles of Music, trans. Albert Cohen (Brooklyn, 1965), pp. 26-33, 59-62.

2. Michel Pignolet de Montéclair, Nouvelle méthode pour apprendre la musique (Paris, 1709), p. 10. This is the method used by Zaccaria Tevo in II musico testore (Venice, 1706), pp. 91-99.

3. Montéclair, Nouvelle méthode, p. 15.

4. Pierre Dupont, Principes de musique (Paris, 1718), p. 16.

5. François David, Méthode nouvelle (Paris, 1732), pp. 22—28.

6. In the Dictionnaire de musique, 1768, s.v. “Mesure,” vol. 1, pp. 417—23, but not in his Projet concernant de nouveau signes pour la musique, 1742.

7. Vincenzo Manfredini, Regole armoniche o sieno precetti ragionati (Venice, 1775), pp. 2-3.

8. J. F. Démotz de la Salle, Méthode de musique (Paris, 1728), pp. 154,160.

9. Borin, La musique théorique et pratique dans son ordre naturel (Paris, 1722), pp. 26-28.

10. Michel Corrette, L’École d’Orphée (Paris, 1738), p. 2; and Le parfait maître à chanter (Paris, 1758), p. 12.

11. Démotz de la Salle, Méthode de musique, pp. 154-74.

12. Borin, La musique théorique et pratique, pp. 28—29.

13. Alexander Malcolm, A treatise of musick; speculative, practical and historical (Edinburgh, 1721), p. 390.

14. Ibid., p. 397-98.

15. Ibid., pp. 403-404.

16. Ibid., p. 402.

17. Ibid., p. 403.

18. William Turner, Sound anatomiz’d in a philosophical essay on musick (London, 1734), p. 22. John Stickney’s The gentleman and lady’s musical companion (New-bury-port, Massachusetts, 1774) repeats this, p. 7.

19. William Turner, Sound anatomiz’d, pp. 26—27.

20. Ibid., pp. 22-27.

21. William Tans’ur, A musical grammar and dictionary or a general introduction to the whole art of music (London, 1746), p. 64. Cited from the edition of 1829.

22. James Grassineau, A musical dictionary (London, 1740), p. 281.

23. Ibid.

24. Ibid., p. 128.

25. Ibid., p. 292.

26. Ibid., p. 302.

27. Peter Prelleur, The modern music-master, or the universal musician (London, 1731).

28. John Holden, An essay towards a rational system of music (Glasgow, 1770).

29. Joshua Steele, Prosodia rationalis, or an essay towards establishing the melody and measure of speech (London, 1779), p. 22.

30. Stickney, Musical companion , pp. 6-7.

31. J. P. Rameau, A treatise of music, containing the principles of composition (London, 1752), pp. 5-6.

32. Giorgio Antoniotto, L’arte armonica, or a treatise on the composition of musick (London, 1760), plate 5.

33. John Wall Callcott, A musical grammar (London, 1806), pp. 229-36.

34. A. C. F. Kollmann, An essay on musical harmony (London, 1796), pp. 73—75.

35. Elias Mann, The Northampton collection of sacred harmony (Northampton, Mass., 1797), pp. 5-6.

36. Johann Peter Sperling, Principia musicae (Bautzen, 1705), p. 47.

37. Ibid., p. 53.

38. Ibid.

39. Ibid., p. 66.

40. Martin Heinrich Fuhrmann, Musikalischer Trichter (Frankfort an der Spree, 1706), p. 44.

41. Johann Gottfried Walther, Praecepta der Musikalischen Composition 1702 (Leipzig, 1955), pp. 28-33.

42. Johann Gottfried Walther, Musikalisches Lexikon (1732), pp. 598, 616-18.

43. Ibid., p. 617.

44. Mattheson’s principal discussion of meter and time signatures is found in Das neu-eröffnete Orchestre (Hamburg, 1713), Pars Prima, chap. III, “Vom Tacte insonderheit,” pp. 76-89. The reader of Der vollkommene Capellmeister, his great compendium (Hamburg, 1739), pp. 171—72, is referred to this earlier work for its discussion of meter.

45. Mattheson, Der vollkommene Capellmeister, p. 172.

46. Mattheson, Orchestre, pp. 80-81.

47. Ibid., p. 91.

48. J. F. B. C. Maier, Museum musicum theoretico practicum (Nürnberg, 1732), pp. 9-10.

49. Franz Anton Maichelbeck, Die auf dem Clavier lehrende Caecilia (Augsburg, 1738), pars prima, caput I.

50. J. P. Eisel, Musicus autodidaktos oder der sich selbst informirende Musikus (Erfurt, 1738), pp. 16-17.

51. Joseph Joachim Benedict Münster, Musices instructio (Augsburg, 1748).

52. Jacob Adlung, Anleitung zu der musikalische Gelahrtheit (Erfurt, 1758), pp. 205-20.

53. Johann Joachim Quantz, Versuch einer Anweisung die Flöte traversière zu spielen (Berlin, 1752), pp. 55-56.

54. Leopold Mozart, Versuch einer Grundlichen Violinschule (Augsburg, 1756); trans. E. Knocker (London, 1948), pp. 31—33.

55. Ibid., p. 32.

56. Friedrich Wilhelm Marpurg, Anleitung zum Clavierspielen (Berlin, 1755), pp. 19-20.

57. Johann Adam Hiller, Answeisung zum Musikalisch-richtigen Gesänge (Leipzig, 1774), p. 125.

58. Christian Kalkbrenner, Theorie der Tonkunst (Berlin, 1789), p. 119.

59. Johann Philipp Kirnberger, Die Kunst des reinen Satzes in der Musik (Berlin, 1771—79), Zweyter Theil, p. 117. English trans., David Beach and Jurgen Thym (New Haven, 1982), p. 385.

60. Ibid., p. 106; p. 377 in the translation.

61. Ibid., p. 130; p. 396 in the translation.

62. Heinrich Christoph Koch, Versuch einer Anleitung zur Composition (Leipzig, 1787), Zweyter Theil, pp. 288—332. Late eighteenth-century writers who continue this classification are Wolf (Musikalische Unterricht, 1788) and Löhlein (Klavierschule, 1765).

63. J. A. Scheibe, Uebër die Musikalische Composition (Leipzig, 1773), vol I., chap. 5.

64. Jean-Philippe Rameau, Traité de l’harmonie réduite à ses principes naturels (Paris, 1722), II, pp. 151-52.

65. Ibid., p. 152-53.

66. Ibid., p. 156.

67. Ibid., p. 157.

68. Michel Pignolet de Montéclair, Principes de musique (Paris, 1736), p. 116.

69. Jean-Jacques Rousseau, Projet concernant de nouveau signes pour la musique, in Oeuvres complettes de J.-J. Rousseau (Paris, 1824), vol. 11, pp. 12-13.

70. Ibid., pp. 13-14.

71. Joseph de Lacassagne, Traité générale des élémens du chant (Paris, 1766), p. 39.

72. Ibid., p. 40.

73. Ibid., p. 99.

74. Pascal Boyer, Lettre à monsieur Diderot, sur le projet de l’unité de clef dans la musique et la réforme des mesures, proposés par M. l’Abbé La Cassagne (Amsterdam, 1767).

75. Jean-Benjamin de Laborde, Essai sur la musique ancienne et moderne (Paris, 1780), vol. HI, p. 597.

76. François Joseph Fétis, Biographie universelle des musiciens (Paris, 1883), Tome II, p. 26.

77. Frédéric Thiémé, Nouvelle théorie sur les différens mouvemens des airs, fondée sur la pratique de la musique moderne (Paris, 1801), pp. 36-46.

78. Malcom, Treatise of musick, p. 397.

79. Turner, Sound anatomiz’d, , p. 20.

80. Prelleur, Modem music-master, no pagination.

81. Maier, Museum musicum, p. 16.

82. David, Méthode nouvelle, p. 23.

83. Rameau, A treatise of music, p. 5.

84. Grassineau, Dictionary, p. 282.

85. Kirnberger, Reinen Satzes, p. 118, trans, p. 386.

86. Borin, Musique théorique et pratique, p. 27.

87. Démotz de la Salle, Méthode de musique, p. 156.

88. Corrette, Ecole d’Orphée, p. 4.

89. Tans’ur, A musical grammar, p. 53.

90. Stickney, Musical companion.

91. Sébastien de Brossard, Dictionnaire.

92. Quantz, Versuch, pp. 264,270.

93. Ibid., p. 270.

94. David, Méthode nouvelle, p. 23.

95. Corrette, Ecole d’Orphée, p. 3.

96. Mattheson, Orchestre, p. 79.

97. Maier, Museum musicum, pp. 9—10.

98. Mattheson, Orchestre, p. 79.

99. Corrette, Ecole d’Orphée, p. 4.

100. Lacassagne, Traité générale, pp. 147-48.

101. Quantz, Versuch, p. 264.

102. Kirnberger, Reinen Satzes, p. 118, trans, p. 387.

103. Tans’ur, A musical grammar, p. 56.

104. Turner, Sound anatomiz’d, p. 22.

105. Mattheson, Orchestre, p. 86.

106. Corrette, Ecole d’Orphée, p. 5.

107. Tans’ur, A musical grammar, p. 56.

108. Kirnberger, Reinen Satzes, p. 127, trans, p. 394.

109. Turner, Sound anatomiz’d, p. 27.

110. Grassineau, Dictionary, p. 295.

111. Démotz de la Salle, Méthode de musique, p. 155.

112. Corrette, Ecole d’Orphée, p. 4.

113. Grassineau, Dictionary, p. 295.

114. Mattheson, Orchestre, p. 86.

115. Maier, Museum musicum, p. 11.

116. Corrette, Ecole d’Orphée, p. 4.

117. Tans’ur, A musical grammar, p. 57.

118. Grassineau, Dictionary, p. 295.

119. Kirnberger, Reinen Satzes, p. 128, trans, p. 396.

120. Mattheson, Orchestre, p. 87.

121. Maier, Museum musicum, p. 11.

122. Grassineau, Dictionary, p. 296.

123. Tans’ur, A musical grammar, p. 62.

124. Corrette, Ecole d’Orphée, p. 5.

125. Kirnberger, Reinen Satzes, p. 130, trans, p. 397.

126. Mattheson, Orchestre, p. 80.

127. Maier, Museum musicum, p. 10.

128. Corrette, Ecole d’Orphée, p. 5.

129. Lacassagne, Traité générale, p. 147.

130. Grassineau, Dictionary, p. 299.

131. Tans’ur, A musical grammar, p. 62.

132. Grassineau, Dictionary, p. 299.

133. Mattheson, Orchestre, p. 80.

134. Corrette, Ecole d’Orphée, p. 4.

135. Lacassagne, Traité générale, p. 147.

136. Tans’ur, A musical grammar, p. 62.

137. Corrette, Ecole d’Orphée, p. 5.

138. Grassineau, Dictionary, p. 297.

139. Tans’ur, A musical grammar, p. 62.

140. Kirnberger, Reinen Satzes, p. 129, trans, p. 396.

141. Grassineau, Dictionary, p. 301.

142. Turner, Sound anatomiz’d, p. 26.

143. Mattheson, Orchestre, p. 81.

3. Rhythmopoeia: Quantitative Meters in Poetry and Music

1. C. F. Abdy Williams, The Aristoxenian Theory of Musical Rhythm (Cambridge, England, 1911), p. 26.

2. See Richard L. Crocker, “Musica Rhythmica and Musica Metrica in Antique and Medieval Theory,” Journal of Music Theory 2 (April 1958): 2—23.

3. D. P. Walker, “Musical Humanism in the 16th and Early 17th Centuries,” a series of articles in Music Review 2 (1941) and 3 (1942); and a series of articles on various aspects of musique mesurée à l’antique in Musica Disciplina 1—4 (1947—50).

4. Gustave Reese, Music in the Renaissance (New York, 1954), p. 705.

5. Rochus von Liliencron, “Die horazischen Metren in deutschen Kompositionen des 16Jdts,” Vierteljahrschrift für Musikwissenschaft (1884): 22-91. Tritonius’s, Senfl’s, and Hofhaimer’s settings are reprinted in this article.

6. Benedikt Widmann, “Die Composition der Psalmen von Statius Olthof,” Vierteljahrschrift für Musikwissenschaft (1889): 290-321.

7. Rochus von Liliencron, “Die Chorgesänge des lateinisch-deutschen Schuldramas in XVI Jdt,” Vierteljahrschrift für Musikwissenschaft (1890): 309-87. A publication as late as 1620 is listed here. See also: F. W. Sternfeld, “Music in the Schools of the Reformation,” Musica Disciplina 2 (1948): 99, and Oliver Strunk, “Vergil in Music,” The Musical Quarterly 16 (1930):482.

8. Athanasius Kircher, Musurgia universalis (Rome, 1650), “De pedibus Rhythmorum sive Metrorum,” Tome II, pp. 30-70.

9. Walker, “Musical Humanism,” Music Review 2 (1941): 4.

10. Ibid., p. 9.

11. Quastiones celiberrimae in genesim (Paris, 1623), and Harmonie universelle (Paris, 1636), VI, XVIII.

12. Walker, “Musical Humanism,” pp. 114-15.

13. Ibid., p. 289.

14. Ibid., p. 295.

15. Ibid., pp. 302-303.

16. Marin Mersenne, Harmonie universelle (Paris, 1636), VI, p. 18.

17. D. P. Walker, “The Aims of Baif’s Academie de Poésie et de Musique,” Journal of Renaissance and Baroque Music 1 (1947): 91.

18. Marin Mersenne, Harmonie universelle, Livre second des chants, pp. 177-78.

19. Ibid., Livre sixiesme de L’art de Bien Chanter, Seconde Partie de l’art d’embellir la voix, les récits, les airs, ov les chants, p. 403.

20. Ibid., pp. 397-98.

21. Ibid., p. 376.

22. Ibid., Livre second des chants, pp. 167—68.

23. Johann Mattheson, Der vollkommene Capellmeister (Hamburg, 1739), pp. 161-64.

24. Traité de la musique qui découvre les règles les plus rares de la théorie musicale et de la composition instrumentale (1736), cited in Carl Alette’s “Theories of Rhythm” (Ph.D. diss., University of Rochester, 1954), p. 162.

25. Mattheson, Vollkommene Capellmeister, pp. 160-70.

26. Ibid., pp. 224-25.

27. Ibid., p. 170.

28. Ibid., pp. 147-48.

29. Ibid., p. 147, para. 93.

30. Ibid., p. 171. Mattheson seems to be using the word tact here in its original mensural significance rather than in its newer meaning as measure.

31. Our perception of a unit of meter begins with arsis, the more dynamic pulse, and ends with thesis, the more reposeful pulse. Notation, however, places thesis after the bar line, first in the measure, and arsis last in the measure. What we perceive as a unit is therefore indicated across bar lines, not between them.

32. Wolfgang Caspar Printz, Phrynis Mitilenaeus, oder satyrischer Componist (Dresden and Leipzig, 1696), part III, chapter XII.

33. Ibid., p. 110.

34. Johann Adolf Scheibe, Der critische Musikus. Neue, vermehrte und verbesserte Auflage (Leipzig, 1745), Das 37 te Stück, 12 May 1739, pp. 342 ff.

35. Lorenz Chr. Mizler von Kolof, Neu-eröffnete Musikalische Bibliothek, IV Bd. (Leipzig, 1739-54), III, p. 393, para. 43, in a review by Schröter of the article by Scheibe.

36. Marin Mersenne, Harmonie universelle, Embellissement des chants, p. 402.

37. In Harmonie universelle, Livre Septiesme des instruments de percussion, p. 59, Mersenne quotes Doni, who calls hesychastic music grave and moderate.

38. Mersenne, Harmonie universelle, p. 402.

39. Isaac Vossius, De poematum cantu et viribus rhythmi (London, 1673), pp. 73-75. The English translation is from John Brown’s A dissertation on the rise, union, and power, the progressions, separations and corruptions, of poetry and music (London, 1763), pp. 72-73.

40. Mattheson, Vollkommene Capellmeister, pp. 210—34.

41. Ibid., p. 166, para. 22; p. 169.

42. Ibid., pp. 167, 166, 168, 170, 168,169.

43. Jean-Jacques Rousseau, Dictionnaire de musique (Paris, 1768), in Oeuvres complettes de J.-J. Rousseau (Paris, 1824), vol. 13, pp. 144-45,147.

44. Ibid., pp. 144-45.

45. Ibid., p. 146.

46. Ibid., p. 147.

47. Ibid., pp. 148-49.

48. See J. A. Hiller, Anweisung zum musikalisch-richtigen Gesange (Leipzig, 1774), ch. XIV, pp. 190 ff., and J. A. Scheibe, Critischer Musikus , p. 342.

49. John Wall Callcott, A musical grammar , p. 241.

50. Ibid., p. 245.

51. Charles Burney, The present state of music in Germany, the Netherlands, and United Provinces, or The journal of a tour through those countries, undertaken to collect materials for a general history of music (London, 1775), pp. 159—60.

4. Quantitas Intrinseca: The Perception of Meter

1. John Holden, An essay towards a rational system of music (Glasgow, 1770), pp. 26, 32—33.

2. Joshua Steele, Prosodia rationalis or an essay towards establishing the melody and measure of speech (London, 1779), pp. 11-12, 20-21, 68.

3. Wolfgang Caspar Printz, Phrynis Mitilenaeus oder Satyrischer Componist (Dresden, 1696), p. 18.

4. Johann David Heinichen, Der General Bass in der Composition (Dresden 1728), p. 257.

5. Johann Adolf Scheibe, Der critische Musikus. Neue, vermehrter, und verbesserte Auflage (Leipzig, 1745), Das 37 te Stück, 12 May 1739, p. 346.

6. Girolamo Diruta, II transilvano (Venice, 1625), Prima Parte, pp. 6-7.

7. Other musicians identified good and bad fingers differently but nevertheless based their systems on a similar perception of metrical order.

8. Lorenzo Penna, Li primi albori musicali (Bologna, 1672), pp. 38ff.

9. Leopold Mozart, Versuch einer grundlichen Violinschule (Augsburg, 1756), trans. Editha Knocker, A Treatise on the fundamental principles of violin playing (London, 1948), p. 219. Friedrich W. Marpurg, Anleitung zum Ciavierspielen (Berlin, 1755), chap. V, p. 18; trans, and annotated by Elizabeth Hays (Ph.D. diss., Stanford University, 1977), Book I, pp. V, 9—26. Georg Simon Löhlein, Ciavierschule (Leipzig und Zullichau, 1779), p. 52. Daniel Gottlob Türk, Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende (Leipzig, 1789), p. 81; trans. Raymond Haggh, School of Clavier Playing (Lincoln, Nebraska, 1982), p. 90. He has translated gute and schlechte takttheile as “strong and weak” beats. Pier Francesco Tosi, Anleitung zur Singekunst. Aus dem Italienischen . . . mit Erläuterungen und Zusatzen von J. F. Agricola (Berlin, 1757), zweite Hauptstuck, p. 73.

10. Susan Wollenberg, “Georg Muffat,” New Grove Dictionary , vol. 12, pp. 760-61.

11. Georg Muffat, Preface to Florilegium secundum, Denkmäler der Tonkunst in Österreich, Jahrg. 11/2, Band 4, pp. 13, 26, 39, 50. See also Kenneth Cooper and Julius Zsako, “Georg Muffat’s Observations on the Lully Style of Performance,” MQ 53 (1967) : 239. My translation reflects the Italian and German more closely than the French version, which seems to have been the basis of that of Cooper and Zsako.

12. Johann Gottfried Walther, Musikalisches Lexikon, 1732, p. 507.

13. Ibid., p. 598.

14. Johann Adam Hiller, Anweisung zum musikalisch-richtigen Gesänge (Leipzig, 1774), pp. 47-48.

5. Articulation of Quantitative Meter

1. Notes inégales is a topic that has inspired much research and writing in the past thirty years, and this account of it as a part of metrical articulation will be brief. David Fuller’s article on Notes inégales in The New Grove Dictionary, VI, gives an excellent and current account of the subject with a comprehensive bibliography. Frederick Neumann’s article “The French Inégales, Quantz, and Bach,” JAMS 18 (1965): 313-58, is a thorough investigation of the topic devoted to demonstrating that notes inégales was exclusively a French performance practice.

2. Loys Bourgeois, Le droit chemin de musique (Geneva, 1550).

3. Diego Ortiz, Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones, Roma 1553 (Kassel, 1936), p. 48.

4. Tomás de Santa Maria, Libro llamado Arte de tañer fantasia (Valladolid, 1565) fol. 45v—46r.

5. Le nuove musiche [1602], trans. John Playford and Oliver Strunk in Source Readings in Music History (New York, 1950), p. 380.

6. Benigne de Bacilly, Remarques curieuses sur l’art de bien chanter (Paris, 1668), pp. 229-30,232-33.

7. Marin Marais, Pieces de violes, livre Ier (Paris, 1686), preface.

8. Jean Rousseau, Traité de la viole (Paris, 1687), p. 114.

9. Etienne Loulié, Elemens ou principes de musique, mis dans un nouvel ordre (Paris, 1696), p. 32.

10. Ibid., pp. 33-35.

11. Ibid., p. 62.

12. Cited in Bruce Haynes, “Johann Sebastian Bach’s Pitch Standards: The Woodwind Perspective,” Journal of the American Musical Instrument Society XI (1985): 62-63.

13. Georg Muffat, Florilegium secundum, ed. H. Rietsch (“Denkmäler der Tonkunst in Österreich.” Band II, zweite hälfte; Wien, 1895), pp. 11, 24, 37, and 48. This translation considers Muffat’s prefaces in Latin, Italian, and German as well as in French.

14. Johann Gottfried Walther, Musikalisches Lexikon 1732, p. 372.

15. Versuch einer Anweisung die flöte traversiere zu speilen, 1752, p. 105. Trans. Edward R. Reilly, On Playing the Flute (New York, 1966), p. 123.

16. Quantz, Versuch, pp. 105-106.

17. Daniel Gottlob Türk, Klavierschule, oder Anweisung zum Klavierspielen (Leipzig, 1789). This is in chapter 5, part three, paragraph 23, and is on pp. 311-12 of Raymond Haggh’s English translation, School of Clavier Playing (Lincoln, 1982).

18. Jane Arger, Les agréments et le rythme (Paris, 1917).

19. François Couperin, L’Art de toucher le clavecin (Paris, 1716-17), p. 39.

20. Pierre Marcou, Elémens théoriques et pratiques de musique (Paris, 1782), pp. 35—36.

21. Friedrich W. Marpurg, Anleitung zum Ciavierspielen (Berlin, 1755), p. 29. Marpurg omits this paragraph from the French edition, Principes du clavecin (Berlin, 1756), p. 34. Mark Lindley cites this in his essay “Keyboard Technique and Articulation: Evidence for the Performance Practices of Bach, Handel, and Scarlatti,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge, 1985), p. 220.

22. Türk, Klavierschule, Haggh trans., chap. 6, part 3, para. 38-40, pp. 344-45.

23. François Couperin, L’art de toucher le clavecin (Paris, 1716), ed. and trans. Margery Halford (New York, 1974). Couperin advocated finger-substitutions in La Milordine, p. 51, in order to allow legato connections and overlapping harmonies in the Premier prelude, p. 56. A new method of fingering parallel thirds (p. 42) facilitated a degree of legato that was not obtainable by the old method. Rameau’s directions for the performance of appuys in the port de voix and the coulez are found in the table of the Pieces de clavecin (Paris, 1724).

24. Girolamo Diruta, Il transilvano (Venice, 1593), p. 6r. See also Edward John Soehnlein, “Diruta on the Art of Keyboard Playing” (Ph.D. diss., University of Michigan, 1975), pp. 135-43, and Julane Rodgers, “Early Keyboard Fingering, ca. 1520-1620” (D.M.A. diss., University of Oregon, 1971), pp. 278-98. A summary of Diruta’s discussion and extensive examples of his scale fingerings are included in Sandra Soderlund’s Organ Technique, an Historical Approach (Chapel Hill, 1980; 2d ed. 1986), pp. 35-54.

25. From Soderlund’s Organ Technique, p. 51.

26. British Library Add. Ms. 29485 (ca. 1600).

27. Harald Vogel, liner notes for Organa recording 3005, “The Fisk Organ at Wellesley College, a Revival of the Meantone Tradition.”

28. Rodgers, “Early Keyboard Fingering,” p. 89.

29. Robert Parkins, “Keyboard Fingering in Early Spanish Sources,” Early Music 11, no. 3 (July 1983): 323-31.

30. Rodgers, “Early Keyboard Fingering,” p. 159.

31. Peter Williams, The Organ Music of Bach III, A Background (Cambridge, 1984), pp. 215-16.

32. Mark Lindley, “An Introduction to Alessandro Scarlatti’s Toccata prima,” Early Music 10, no. 3 (July 1982): 333-39.

33. Versuch, p. 17. Quoted in Williams, Organ Music of Bach III, p. 215.

34. Quoted in Lindley’s essay “Keyboard Technique,” p. 217.

35. Williams, The Organ Music of Bach III, chap. 24, “Fingering,” pp. 212-25.

36. Klavierschule, Haggh trans., chap. 2, para. 8—9, pp. 133—36.

37. Carl Czerny, Erinnerungen aus meinem Leben, ed. Walter Kolneder, Sammlung Musikwissenschaftlicher Abhandlungen, bd. 46 (Strasbourg-Baden-Baden: Verlag Heitz GMBH, 1968), p. 15.

38. Muzio Clementi, Introduction to the Art of Playing on the Piano Forte (London, 1801), pp. 8-9. Cited in Christopher Kite, “The day has still to come when Mozart on a Steinway will be regarded . . . as necessarily a kind of transcription,” Early Music 13, no. 1 (February 1985): 55.

39. Richard Erig and Veronika Gutmann, Italienische Diminutionen die zwischen 1553 und 1638 mehrmals bearbeiten Sätze (Zurich, 1979). Band I, Prattica Musicale, Veröffentlichungen der Schola Cantorum Basiliensis, p. 32. An essay on wind articulations is on pp. 30—44 in both German and English.

40. Eng, Italienische Diminutionen, p. 36.

41. Jean Pierre Freillon Poncein, La Veritable manière d’apprendre a jouer en perfection du hautbois, de la flûte, et du flageolet, avec les principes de la musique pour les voix et pour toutes sortes d’instruments (Paris, 1700), pp. 15—17.

42. Jacques Martin Hotteterre, Principes de la flute traversiere, ou la flute d’Allemagne, de la flute douce, et du haut-bois (Paris, 1707), pp. 21—23.

43. Ibid., pp. 26-27.

44. Quantz, Versuch, pp. 66-71 /On Playing the Flute, pp. 71-86.

45. Ibid., pp. 64-65/74-75.

46. Ibid., pp. 136-51/162-78.

47. Published in 1707, with editions in 1713, 1720, 1722, 1741, and (with additions by Bailleux) 1765. A Dutch translation was printed in 1728, an English translation in 1729. Peter Prelleur pirated parts of it in The modern music master in 1731, and it was pirated again in The compleat tutor for the German flute, printed by John Simpson (n.d.). David Lasocki’s introduction to his translation of the Principes (New York, 1968) cites these editions and contains much useful information.

48. Published in 1752, with editions in 1780 and 1789. It was translated into French, Dutch, and an abridged English version, according to Thomas Warner’s Annotated Bibliography of Woodwind Instruction Books, 1600-1830, (Detroit, 1967), p. 21.

49. See Betty Bang Mather’s Interpretation of French Music from 1675 to 1775 for Woodwind and Other Performers (New York, 1973), “The New Tongue Strokes,” pp. 45-50.

50. See Rebecca Harris-Warrick, “Newest Instructions for the German Flute” (D.M.A. Final Project, Stanford University, 1977), pp. 96-97.

51. Marin Mersenne, Harmonie universelle, Livre IV, p. 204.

52. Jean Rousseau, Traité de la viole (Paris, 1687).

53. Johan H. D. Bol, La basse de viole du temps de Marin Mersenne et d’Antoine Forqueray (Bilthoven, 1973), pp. 102-20.

54. Sylvestro Ganassi dal Fontego, Regola rubertina and Lettione seconda (Venice, 1542 and 1543).

55. Mersenne, Harmonie universelle, Livre IV, pp. 198—204.

56. Christopher Simpson, The division-viol (London, 1667).

57. Danoville, L’art de toucher les dessus et basse de viole (Paris, 1687).

58. Johann Andreas Herbst, Musica prattica (Frankfurt, 1653).

59. Gasparo Zannetti, Il scolaro di Gasparo Zannetti per imparar a suonare di violino et altri stromenti (Milan, 1645).

60. Georg Muffat, preface to Florilegium secundum (Passau, 1698).

61. Muffat’s rules are quoted from “Georg Muffat’s Observations on the Lully Style of Performance,” trans. Kenneth Cooper and Julius Zsako, MQ 53 (April 1967): 224-28.

62. Georg Muffat, foreword to Auserlesene . . . Instrumental-Music, cited by David Boyden, The History of Violin Playing from its Origins to 1761 (London, 1965), p. 257.

63. Boyden, History of Violin Playing, pp. 162-63.

64. Pierre Dupont, Méthode de violon: Principes de violon par demande et par réponse (Paris, 1713).

65. Michel Pignolet de Montéclair, Méthode facile pour apprendre à jouer du violon (Paris, 1711).

66. Marc Pincherle, La Technique du violon chez les premiers sonatistes français (Geneva, 1974), pp. 19-20. A reprint of articles in S.I.M. 1911.

67. Quantz, Versuch, p. 192, para. 10.

68. Leopold Mozart, Versuch einer Grundlichen Violinschule [1756], Dritte vermehrte Auflage (Augsburg, 1787), pp. 102—109. Trans. E. Knocker, A Treatise on the Fundamental Principles of Violin Playing (London, 1948), pp. 96-102.

69. Francesco Geminiani, The art of playing on the violin, ed. David D. Boyden, facs. ed. (London, [1952]), p. 4, example VIII.

70. Ibid., p. 9.

71. Boyden, History of Violin Playing, pp. 157-70, 256-71.

72. Robin Stowell, “Violin Bowing in Transition,” Early Music 12, no. 3 (August 1984): 324-25.

73. Hubert Le Blanc, Défense de la basse de viole contre les entreprises du violon et les prétensions du violoncel (Amsterdam, 1740), p. 23.

74. Etienne Loulié, “Méthode pour apprendre a jouer la violle,” ca. 1700. Ms. Bibl. Nat. Paris, fonds fr. n. a. 6355, fol. 210-22.

75. John Hsu, A Handbook of French Baroque Viol Technique (New York, 1981), pp. 2-5.

76. Engramelle’s work has been briefly discussed in Hans-Peter Schmitz’s Die Tontechnik des Pere Engrammele, no. 8 of Musikwissenschaftliche Arbeiten, herausgegeben von der Gesellschaft für Musikforschung (Kassel und Basel, 1953). David Fuller’s Mechanical Musical Instruments as a Source for the Study of ‘Notes Inégales’ (Cleveland Heights, 1974), is an important and useful study of the topic. The companion tape to the present volume performs the musical examples from La tonotechnie as realized with the help of a computer program by Roland Hutchinson. Douglas Keislar and the Center for Computer Research in Acoustics and Music at Stanford University created the tone quality and the note shapes of the music.

77. The plates are from Dom François Bédos de Celles’s L’art du facteur d’orgues, Quatrième Partie (Paris, 1776-78).

78. Marie-Dominique-Joseph Engramelle, La tonotechnie, pp. 20-22.

79. Bédos de Celles, L’art du facteur d’orgues, Quatrième Partie, p. 628.

80. Engramelle, La tonotechnie, pp. 23-25.

81. Ibid., pp. 30-33.

82. They are Loulié, Elemens ou principes (1696); L’Affilard, Principes très faciles (1697,1705); Saint Lambert, Les principes du clavecin (1702); Hotteterre, Principes de la flûte traversière (1707); Montéclair, Nouvelle méthode (1709); Couperin, L’art de toucher (1717); Démotz de la Salle, Méthode de musique (1728); Vague, L’art d’apprendre la musique (1733); David, Méthode nouvelle (1737); Bordet, Méthode raisonnée (1755); Villeneuve, Nouvelle méthode très courte (1756); Bordier, Nouvelle méthode (1760); and Rollet, Méthode pour apprendre la musique (1769).

83. Engramelle, La tonotechnie, pp. 33-34.

84. Ibid., p. 230.

6. Accent as Measure Articulation and as Measure Definition

1. John Wall Callcott, A musical grammar (London, 1806), para. 81, p. 41.

2. Ibid., pp. 230-31.

3. Ibid., para. 528, p. 238.

4. Ibid., para. 529, p. 238.

5. [Francis North?], A Philosophical essay of musick directed to a friend (London, 1677), pp. 33-35.

6. Marin Mersenne, Harmonie universelle (Paris, 1636), Livre septiesme des instruments de percussion, p. 56.

7. Johann Mattheson, Critica musica (Hamburg, May 1722), p. 43.

8. Heinrich Christoph Koch, Versuch einer Anleitung zur Composition (Leipzig, 1782-83), vol. II, p. 280, fn.

9. Johann Adolf Scheibe, Ueber die musikalische Composition. Erster Theil: die Theorie der Melodie und Harmonie (Leipzig, 1773), p. 225.

10. Ibid., pp. 230-31.

11. Johann Gottfried Walther, Praecepta der Musikalischen Composition, pp. 34-36.

12. Jacob Adlung, Anleitung zu der musikalische Gelahrtheit (Erfurt, 1758), p. 206, fn.

13. Johann Philipp Kirnberger, Die Kunst des reinen Satzes (Berlin, 1771-76), Vierter Abschnitt, 105.

14. Koch, Versuch, vol. II, p. 273.

15. Adlung, Anleitung, p. 206, fn. c.

16. Daniel Gottlob Türk, Klavierschule (1789), p. 91.

17. Giuseppe Tartini, Trattato di Musica secondo la vera scienza dell’armonia (Padua, 1754), pp. 115-16.

18. Ibid., p. 117.

19. Jean-Jacques Rousseau, Dictionnaire de musique, vols. 12 and 13 of Oeuvres Complettes de J.-J. Rousseau (Paris, 1824), vol. 13, p. 277.

20. Charles Burney, Music articles in The Cyclopedia; or Universal Dictionary of Arts, Sciences and Literature, ed. A. Rees, 45 vols. (London, 1819), vol. 1, s.v. Accent. Grove’s Dictionary (art. on Burney) indicates these articles were written beginning in 1801.

21. Charles Louis Denis Ballière de Laissement, Théorie de la musique (Paris, 1764), p. 43, para. 88.

22. Giorgio Antoniotto, L’Arte Armonica or a treatise on the composition of musick (London, 1760).

23. A. C. F. Kollmann, An essay on musical harmony (London, 1796), pp. 73 ff.

24. William Jones of Nay land, A treatise on the art of music (Colchester, 1784), p. 45.

25. Jérome-Joseph de Momigny, Cours complet d’harmonie et de composition, 3 vols. (Paris, 1806), vol. I, p. 138.

26. Léonard Ratner remarks, “The definition of these principles (of phrase structure), new in the history of music theory, especially in connection with the period, is the important contribution of the theorists of the late eighteenth century,” in “Eighteenth- Century Theories of Musical Period Structure,” MQ 42 (1956): 454.

27. Jones of Nayland, Treatise, p. 49.

Handel and Corelli are distinct in their ideas, and clear in the design of their accents and measures; Geminiani is rather more obscure and irregular. His fancy was various and elegant, his expression as a composer extremely pathetic, and he had a great practical knowledge of Harmony; but he seems to have wanted an arithmetic Head—As for Haydn and Boccherini, who merit a first place among the Moderns for invention, they are sometimes so desultory and unaccountable in their way of treating a subject; that they may be reckoned among the wild warblers of the wood: and they seem to differ from some pieces of Handel, as the Talk and the Laughter of the Tea-Table (where, perhaps, neither wit nor invention are wanting) differs from the oratory of the Bar and Pulpit.

28. Leopold Mozart, Versuch einer Grundlichen Violinschule [1756], Dritte verhehrte Auflage (Augsburg, 1787), pp. 261-63.

29. William Tans’ur, A musical grammar and dictionary: or a general introduction to the whole of music (London, 1819), pp. 27-28 [1st ed., 1746].