Preface to a Graduate Course in the History of Music Theory

Author(s): Mark Lindley

Source: College Music Symposium , Fall, 1982, Vol. 22, No. 2 (Fall, 1982), pp. 83-102
Published by: College Music Society

Stable URL: https://www.jstor.org/stable/40375185

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 Campus Focus

Preface to a
Graduate Course
in the History of
Music Theory
Mark Lindley
Accademia Tartiniana
Padua, Italy

a doctoral degree certifies (among other things) to a breadth of

knowledge in the field, one requirement for the Ph.D. in music the-
ory should be a scholarly course surveying the history of theory. To de
cide on this requirement, however, is easier than to decide what the course
should cover.1 It might presumably be limited to theorists who have writ
ten in English, German, and the Romance languages, but even so one
must cope with the fact - alluded to by Arthur Mendel (1968, p. 149) -
that "We call a 'theorist' everyone who ever set words on paper about mu
sic."
To select from this literature I would use four criteria. These can be
satisfied to a remarkable degree (though by no means entirely) through
writings in English or available in English translation. I should like to dis-
cuss each of the four criteria in turn, and refer merely by the author's
name and a date to the items listed in the bibliography which follows.

People with a theory degree are typically asked to teach counter-

point, harmony, or analysis. I believe that a familiarity with (and due
reflection on) the historical mainstream of these pedagogical disciplines

^he first decision does require a modicum of academic integrity.

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84 COLLEGE MUSIC SYMPOSIUM

will give the teacher-to-be a distinct advantage

crimination.
In addition to someone such as Franco of Cologne (circa 1260) for
medieval discant, students in the course should encounter Tinctoris
(1477), Zarlino (1558), Bernhard (circa 1660), Fux (1725), Cherubini
(1835), Bellerman (1877), and a modern composer-teacher on counter-
point, as well as Marpurg (1753-54) and Gedalge (1900) on fugue. A good
secondary source is Crocker (1962) on discant, counterpoint and har-
mony; also worth consulting if time permits would be Marco (1961) on
Zarlino's rules of counterpoint, Palisca (1956) on Vincenzo Galilei's coun-
terpoint treatise in relation to the secondaprattica, Cohen (1971) on supposi-
tion and the changing concept of dissonance in Baroque theory, and Se-
vier (1976) on Ahle's treatment of voice leading and dissonance.
For the history of harmony Lester's brief account (1974) of root posi-
tion and inverted triads in theory around 1600 may provide an appropri-
ate preface to Heinichen (1728, on the application of thoroughbass prin-
ciples to composition), Rameau (1722), Kirnberger (1774-79), G. Weber
(1817-21, said to have been the first to use Roman numerals), A. B. Marx
(1837), F<kis (Traite complet . . . , 1844, especially Book 3), Rimsky-
Korsakov (1885), and at least one representative twentieth-century writer
such as Schenker (1906) or Schoenberg (1911, or better, Structural Func-
tions . . . , 1954). There is an abundance of useful literature in English.
Beach (1974) on the origins of harmonic analysis, Mekeel (1960) on the
harmonic theories of Kirnberger and Marpurg, Grant (1977) on the rela-
tion between Kirnberger's and Rameau's concept of the fundamental
bass, and Mitchell on chord and context in eighteenth-century theory
(1963) and modulation in C. P. E. Bach's Versuch (1970) might be looked at
by most or all students, leaving to those with a special interest in Rameau
the possibility of reading D'Alembert's elegant presentation of his theo-
ries (ElSments de musique, 1752), Ferris (1959) on their development, Verba
(1973) on his ideas of modulation and chromatics, and for amusement
Hayes (1974) on his instructions for playing thoroughbass without know-
ing how to read music.
Secondary literature connecting, in their historical context, concepts
of harmony and of tonal structure would be Jacobi (1967) on harmonic
theory in England after the time of Rameau, and Simms (1975) on the
contributions of Choron and F6tis to the theory of tonality. Koch (1782),
Vogler (1778-81), Galeazzi (1796) and perhaps Kollmann (1799)- or at
least some of the secondary literature on their analytical essays - would
provide the proper background for Marx (1845) and any one or two of
the many late nineteenth-century and early twentieth-century writers -
perhaps an Englishman such as Tovey or Prout - on sonata form and re-

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 GRADUATE COURSE IN THE HISTORY OF THEORY 85

lated concepts (related in that they all provide something of a de

or schematic "program" to guide the listener through the mo
The secondary literature on Koch et al. includes Ratner (
eighteenth-century theories of period structure, William Newm
pp. 19-42) on contemporary descriptions of classical sonata form
Baker (1976) on Koch's theory of melody, Churgin (1968) on
Weiss (1968) on Reicha, Moyer (1969) on Marx and nineteenth
concepts of sonata form, Cole (1969) on eighteenth-cent
nineteenth-century concepts of sonata-rondo form, and Jane
(1971 and 1974) on those of concerto first-movement form.
Ian Bent's article on "Analysis" for The New Grove surveys
range of approaches that have been exercised in the last one
years.
Schenker is perhaps the indispensable twentieth-century figu
this course) on tonal analysis. Beach's bibliography (1969) should
along with Forte (1959) on his concept of musical structure a
man's translation (1968) of his essay on organic structure in sona
The Fiinf Urlinie-Tafeln (1933) and Oster's translation of Der fr
should be encountered. A helpful glossary of symbols used in gra
appended to volume I of The Music Forum (1967). Among critical
Schenker that of Michael Mann (1949) is well suited to this cours
followers of Schenker merit a place in a course on the history of
would put Salzer first (1952 and 1967), as he modified and ex
Schenker's theories significantly with his concept of modal-cont
tonality.

II

In general, writings that illuminate the history of compositional tech-

niques should be favored, because theory students are usually more inter-
ested in composition than in performance, acoustics, psychology, aes-
thetics, or sociology.
Ars Nova theory of rhythmic notation (de Vitry circa 1315 and de
Muris 1319) should be considered with particular reference to the con-
temporary development of the isorhythmic motet. Notice should be taken
of sixteenth-century advice to compose the voice parts in score rather than
in succession (Aaron 1523 and Coclico 1552). A sampling of German Ba-
roque theory of rhetorical figures (Burmeister 1599 and 1606, Nuncius
1613, Thuringus 1625, Bernhard circa 1660, Kircher 1673, Walther 1708
and 1732, and Mattheson 1739) and of the affects (Werckmeister 1702
and Heinichen 1711 as well as Mattheson 1739, Quantz 1752, and Mar-
purg 1 763) should be included because it is so vital to an understanding of

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86 COLLEGE MUSIC SYMPOSIUM

the music of the period. The Medieval and Renai

been set out by Gallo (1977) and Warren Kirkend
(1958) on Mattheson, Buelow (1966) on Heinichen
meister's analysis of Lasso, and Butler (1977) on
other good secondary sources in English. Amo
ment, preference should be given to those who d
mony and its effect on "transpositions" (seque
well as transpositions in the modern sense) and on
potential of different keys in the eighteenth cent
meister 1697, Rameau 1726 and 1737 and Ricc
"Temperaments" in The New Grove). A number o
pects or techniques of improvisation - such as or
embellishment, thoroughbass and fantasia-playin
because the improvisational procedures were so of
ten composition. One might ignore what C. P. E. B
fingering or rubato, and merely glance at what it
but the last chapter - on improvising a fantasia
(1948, Vol. 1) on organum theory, F. T. Arnold
manuals, and Horsley (1963) and Brown (1976)
bellishment are good modern surveys. Morley (15
cessible and representative primary source on
discant, to supplement Ferand (1961).
Theorists who were themselves great composer
ularly close relation to a great composer should
read Monteverdi (1605) on seconda versus prima p
tusi 1600 on Monteverdi; a good modern accou
paragraphs from Wagner (185 1)2 on text s
Klangfarbenmelodie (1911, pp. 506-7) and dode
bern on Schoenberg's early music (in Arnold Sch
Haba (1925 and 1927) on microtonal music; Cic
1405; see Clercx 1955, pp. 53-62); and Padre M
berger on fugue since they taught Mozart and Be
Students with a particular interest in Bach have a
ical writings to take an interest in; notes afte
oughbass (1725); the books of his son Carl Philip
Kirnberger; perhaps also the writings of Mizler
chen, whose Generalbass Bach admired and bec
Marpurg on Bach's fugues; Sorge for citing hi
Scheibe for his criticism of the "artificial" quality o
these, excerpts in The Bach Reader would suffice fo

2 1 have in mind Part III: the epitomes and paragraphs

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 GRADUATE COURSE IN THE HISTORY OF THEORY 87

III

A number of treatises and topics which might not find a place in the
course by the first two criteria are nevertheless so likely to be regarded by a
musicologist as belonging to the history of music theory that they should
be encountered, however superficially, by every advanced theory student.
Boethius is a prime example of a writer in this category, and perhaps
the only non-musician who is so important to the history of theory that his
entire treatise (circa 500) should be looked at. Other influential non-
musicians are Augustine (circa 400, see Knight 1948), Cassiodorus (circa
550), Isidore of Seville (circa 625) and Alcuin (circa 800); Jean de Muris
(1319); Mersenne (1636); and Helmholtz (1863) and Ellis.
There have also been some accomplished musicians who wrote his-
torically important treatises about some aspect of their art which might,
however, be of only slight interest to many present-day theory students:
Odo of Cluny (circa 935) and Guido of Arezzo (circa 1025); Johannes de
Grocheo (circa 1300); Marchetto of Padua (1310s; see Pirrotta 1955);
Ramis (1482) and his opponents (see Jeppeson 1941); Caccini (1602);
Leopold Mozart (1756) and Quantz (1753); Berlioz (1843) and Rimsky-
Korsakov (1896). The encyclopaedic writings of Jacques de Liege (circa
1330; see Smith 1968); Ugolino of Orvieto (circa 1440; see Seay 1955);
Tinctoris and Gafurio (Clement Miller 1968 summarizes Gafurio's Practi-
cae Musicae); Zacconi, Cerone (see Gallo 1968) and Praetorius; Kircher
Tevo (see Gallo 1967), Nassarre, and Walther; and Riemann and Dlndy
should be surveyed. Certain relatively minor treatises might be included
because they represent so nicely some aspect or moment of the history of
theory. I am thinking of Aurelian of Reome (circa 850, exemplifying the
Carolingian renaissance), Arnaut (circa 1440, applying fifteenth-century
science to the devising of instruments), and Descartes (1618, at the thresh
old of the Enlightenment). The total of all these is obviously unwieldy,
and can only be dealt with by a combination of guided browsing, thematic
summaries, and bibliography.
Many treatises can be represented well enough in this course by a
brief description and excerpt (especially those which are significant for
only one or two things); and for many others it would suffice to do littl
more than examine the chapter headings and grasp the meaning and
spelling of the title. The ability to tell something about a treatise from such
an examination is valuable in its own right. A person well informed about
what kinds of books have been written on music can usually "place" an un
familiar work in a few moments and then proceed efficiently to find out
whether the first impression was correct.
To complement or review the fruits of this "browsing" technique the

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88 COLLEGE MUSIC SYMPOSIUM

course should include in some form a summary acco

ring themes of music theory which have little or no
mony, counterpoint, analysis, or composition. Amon
mundana, musica humana, and musica instrum
classifications (Pietsch 1929) and related social distinc
vs. cantor; natural vs. artificial music (Bower 197
spheres (Spitzer 1963, Bragard 1929, and Walker 1
tios and Latin terminology for proportions; myths ab
sic and its power; musica rhythmica and musica metri
(Crocker 1958 is a particularly calm guide); solmizati
the Guidonian hand (Waesberghe 1969); species of fo
the diatonic, chromatic and enharmonic genera; the
rhythmic modes (Knapp 1952 is one good source); m
1964 seasoned by Apel 1972 and Jacobs 1968); the
early concepts of key (Andrews 1935 on medieval th
Atcherson 1973 on key and mode in seventeenth-
Tolkoff 1973 on French modal theory before Ramea
from Greek music theory ( Walker 1941-42 and per
in progress on V. Galilei); microtonal divisions of
baum 1961); tactus and the bar line (Apel 1940, end o
1968 on tactus, and perhaps Carpenter 1968; Houle 1
measure as discussed by theorists from 1650 to 1800
ries of rhythm (Alette 1952 and Smither 1960); and-
deemed by their practitioners to be a branch of mus
(Dostrovsky 1975 on seventeenth-century vibration t
on later writers in The New Grove s.v. "Physics of Mu
tics (for example, Pilker 1966 on the history of exper
interval sense). To set out these themes need not be a
the list suggests, since most of it would be a matter of
ing what students will already have learned, and ma
listed here can be summarized in class rather than as
the place, however, to cultivate an appreciation for
proach to terminology, as exemplified by the Handwo
ischen Terminologie (Eggebrecht et al., 1972 as well as by
those of Grant ( 1 977) on "fundamental bass" and Haar (
definitions of fugue and imitation. Students cannot
philological work in one year, but at least they ought to
If a proper balance of approaches is embodied
blend of contact with primary sources in facsimile, e
and secondary readings - bibliographical surveys can
a student's grasp just as intelligent browsing and ph
can do. I think the psychological "context," in this sen

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 GRADUATE COURSE IN THE HISTORY OF THEORY 89

is as vital pedagogically as the qualities of thoroughness or discrim

in the bibliography itself. At first glance a list of writings usually inf
us of our ignorance, and yet one hallmark of a learned person is th
information can be endured through a certain confidence due
shapeliness and weight of what he does know. I would therefore de
bibliographical aspect of the course, and then preface it with a r
and discussion of Reaney (1964) on the question of authorship in
val treatises, Seay (1971) on French Renaissance theory and Jean
don, Hoffman (1953) on nineteenth-century German treatises; an
haps Chenette (1973) or Jamie Kassler (1971) on British Enlighten
theory. Cohen et al. (1972) on national predilections in seven
century theory, and Palisca's article on "Theory" in The New Grove
appended bibliography are also valuable surveys. Sixteenth-centur
ory books are listed in Davidsson (1962), and Lesure (1971) offers
prehensive list of theory books to 1800. Also comprehensive, thoug
means complete, are the bibliographies of manuscript treatises fro
Carolingian era to 1400 by Waesberghe (1961) and Fischer
Coover on translations (1959 and 1969) would be invaluable to
course, and students should be familiar with the listings headed 29t
49tr, etc., in Adkins and Dickinson (1977 or any later edition).
The multivolume Geschichte der Musiktheorie forthcoming und
auspices of the West German Staatliches Institut fur Musikforschu
with several chapters by Americans) should also be mentioned here
complete the undoubtedly worthy task of making Riemann (1920
lete beyond repair.

IV

Apart from exchanging ideas with musicological colleagues, pursu-

ing a theoretical interest in composition, and teaching counterpoint, har-
mony and analysis, a music-theory expert may occasionally encounter col-
leagues in a nonmusical discipline who, having read some of the
psychology, aesthetics, sociology, or modern physics of music, will expect
him likewise to know some of these writings.
Here especially, lack of time for a solid platform of readings must be
compensated by a judicious bibliographical and terminological
scaffolding with two or three well-chosen planks across it. Yet this part of
the course, if well organized, could give students an invaluable perspec-
tive on the whole enterprise of music theory, a habit of asking by and for
whom it has been written and even a sense of which aspects of current the-
ory they should seek to develop.
Spender on "Psychology of Music" in The New Grove traces a wide

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90 COLLEGE MUSIC SYMPOSIUM

range of writings (not all of them very rewarding)

psychologists, psychoanalysts, and other vari
searchers; and Portnoy (1954) on historical relat
and music contains a certain amount of useful in
ized studies of more consistent quality are thos
music and learning in the early Italian Renais
(1953) on Ficino's "spiritus" and music; Lessem (1
glish eighteenth-century concepts of musical exp
the nontechnical sense), and Kivy (1973) on thes
For more recent aesthetics, some key figures are
of language), Hanslick, the last half-dozen autho
perhaps Suzanne Langer (1953). Finkelstein (1
presents a vein of midcentury Communist thoug
cessible than the intricate philosophical and socio
which in this course might better be read abou
than actually read. But Max Weber (192 1) on the
foundations of music could well be deemed indis
he represents a watershed in the development
good bibliography is appended to Boehmer's art
sic in The New Grove. Finally some studies of partic
dents interested in historical links between music and the exact sciences
are those of Werner (1956) on the mathematical foundation of de Vitry's
ArsNova; Gingerich (1973) on Kepler's theories of planetary motion; Pa-
lisca (1961) on scientific empiricism in musical thought in the seventeenth
century; Dostrovsky (1975) on early vibration theory; and D. P. Walker
(1978) on musical science in the writings of Zarlino, Tartini, and various
seventeenth-century figures.
All this is more than a one-year course can cover, even a tightly orga-
nized one resembling - as might be appropriate in this instance - an un-
dergraduate course in chemistry rather than a seminar in gastronomy.
But the criteria outlined here do provide a basis for shaping the materials
reasonably and in accordance with the interests of the students and the
professor.
The a priori limitation to the history of theoretical writings in English,
German and the Romance languages (mentioned at the beginning of this
article) is one which should at least be discussed critically in the concluding
sessions of the course, even if it does not seem feasible to transcend it to
any great extent. (Strictly speaking, however, Rimsky-Korsakov,
Stravinsky's teacher, would by this rule be a marginal figure!)
A sense of wider horizons should naturally arise from the sociolo-
gical readings; and in many respects some well chosen history of non-
Western theory, for instance the appropriate sections in Powers on "In-

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 GRADUATE COURSE IN THE HISTORY OF THEORY 9 1

dia" and Owen Wright on "Arabia" in The New Grove (see also W
1978) would be extremely worthwhile even for students with little inte
in non- Western music. But at the same time the course should offer
enough rewarding contact with primary source facsimiles and texts to
show what would be lost by limiting oneself, in the name of broader hori-
zons, to secondary sources.

Selective Bibliography of Secondary Sources and Translations

Abbreviations:
AIM American Institute of Musicology
JAMS Journal of the American Musicological Society
JMT Journal of Music Theory
MD Musica Disciplina
MR The Music Review
RISM Repertoire Internationale des Sources Musicales
UM University Microfilms

Aaron, Pietro. See Berquist 1970.

Adams, R. D. W., trans., 1948, Arnold Schoenberg, Theory
abridged (New York).
Adkins, Cecil, and Alls Dickinson 1977, International Index of
and Musicological Works in Progress (Philadelphia).
Agate, Edward, trans. 1923, Nikolai Rimsky-Korsakov, Prin
chestration (Berlin; abridged edition New York, 1950).
Albrechtsberger, Johann Georg. See Merrick 1834 and A. M
Alette, Carl, 1951, Theories of Rhythm (University of Rocheste
and microcard 93).
Apel, Wilh, 1940, The Notation of Polyphonic Music (Cambrid
Anstoxenus. See Macran 1902.
Arlin, Mary Irene, trans. 1971, Frangois-Joseph Fetis, Esquisse de Vhisto
de Vharmonie (Indiana University dissertation, UM 72-30,396).
Arnaut de Zwolle, Henri. See Le Cerf 1932.
Arnold, Frank Thomas, 1931, The Art of Accompaniment from a Thorou
bass as Practised in the 1 7th and 18th Centuries (London).
Artusi, Giovanni Maria. See Strunk 1950.
Atcherson, Walter Thomas, 1960, Modal Theory of Sixteenth-Century G
man Theorists (Indiana University dissertation, Library of Congre
microcard 60-6280).

Books," JMT XVII, 204.

Augustine. 5>ee btrunk 1950.

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92 COLLEGE MUSIC SYMPOSIUM

Aurelian of R66me. See Ponte 1968.

Bach, Carl Philipp Emanuel. See Mitchell 1948.
Baker, Nancy Kovaleff, 1976, "Heinrich Koch and the Theory of Mel-
odv."TMTXX. 1.

International Review of the Aesthetics and Soci

Banchieri, Adriano. See Marcase 1970 and Gar
Beach, David, 1969, "A Schenker Bibliography

Bellamy, Laurette, 1974, The Sonido Trece The

rillo: A Transcription with Commentary (Indi
UM 73-19,731).
Berquist, Ed Peter, Jr., 1964, The Theoretical
lumbia University dissertation, UM 65-749

Springs).
Berlioz, Hector. See Clarke 1856 and Strunk 1950.
Bermudo, Juan. See Stevenson 1960.
Bernhard, Christoph. See Hilse 1973.
Blum, Fred, 1958, "Santayana's Music Aesthetics," JAMS XI, 20.
Blumenfeld, Harold, trans. 1970, Michael Praetorius, Syntagma Musicum,
Vol. 2 (Kassel).
Boethius, Anicius Manlius Severinus. See Bower 1967.
Borgese, Elizabeth M., trans. 1954, Heinrich Schenker, Harmony (Chi-
cago).
Bower, Calvin M., trans. 1967, Boethius, The Principles of Music (George
Peabody College dissertation, UM 67-15,005).

opment of an Aesthetic Concept," MD XX

Bragard, Roger, 1929, "L'harmonie des sp
IV, 206.
Bnscoe, Roger Lee, trans. 1975, Demonstratio
Nouvelles reflexions de M . Rameau sur sa De
Vharmonie (Indiana University dissertatio
Brouncker, William, trans 1653, Renatus Descar
Muskk (London).
Brown, Howard Mayer, 1976, Embellishing S
don).
Buelow, George J., 1966, Thorough-bass Accompaniment According to Johann
David Heinichen (Berkeley).

chen's Practical Demonstration," MR XXVII, 16

Butler, Gregory G., 1977, "Fugue and Rhetoric,"

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 GRADUATE COURSE IN THE HISTORY OF THEORY 93

Carrillo, Julian. See Bellamy 1974.

Carter, Henry H., 1971, A Dictionary of Middle English Musical
(Bloomington).
Cassiodorus, Magnus Aurelianus. See Strunk 1950.
Chandler, B. Glen, trans. 1974, Jean-Philippe Rameau, Nouveau sy
musique thforique (Indiana University dissertation, UM 75-23,
Chapman, Roger E., trans. 1957, Marin Mersenne, Harmonie uni
the Books on Instruments (The Hague).
Chartier, Yves, trans. 1972, Hucbald, La Musica d'Hucbald de Saint
Introduction, etablissement du texte, traduction et commentaire (Un
of Paris dissertation).
Chenette, Louis Fred, 1967, Music Theory in the British Isles During
lightenment (Ohio State University dissertation UM 68-2965).
Cherubini, Luigi. See Hamilton 1837 or Clarke 1854.
Churgin, Bathia D., 1968, "Francesco Galleazzi's Description (1796
nata Form," JAMS XXI, 181.
Clarke, Mrs. Cowden, trans. 1854, Luigi Cherubim, A lreatise on
point and Fugue (London).

tion and Orchestration (London).

Clercx-Lejeune, Suzanne, 1955, "Joha
musicologiques III, 39.
Coclico, Adrianus Petit. See Seay 1973.
Cohen, Albert, 1971, "La Supposition a
nance in Baroaue Theorv " JAMS XXIV. 63.

Music Theory," JMT XVI, 4.

Cohen, Gustave, trans. 1891, Eduard Han
(London).
Coover, James B., 1959, "Music Theory in Translation: a Bibliography,"
JMT III, 70; supplemented in JMT XIII, 230.
Crocker, Richard L., 1958, "Musica rhythmica and musica metrica in Antique
and Medieval Theory," JMT II, 2.
-

Daniels, Arthur Michael, 1962, The De Musica

linas (University of Southern California di
Davidsson, Ake, 1962, Bibliographie der musi
lahrhunderts (Baden-Baden).
Davis, Ferdinand, trans. 1965, Andre Gedalg
vised after Louis Vierne (Norman, Oklaho
Day, Thomas C, 1976, "The Downfall of Wes
Nordau, Spengler and Toynbee," MR XX
Descartes, Ren6. See Brouncker 1653 and Rob

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94 COLLEGE MUSIC SYMPOSIUM

Dostrovsky, Sigalia, 1975, "Early Vibration Theo

the 17th Century," Archive for the History of t
169.
Dowland, John, trans. 1609, Andreas Ornithopa
sical Practice (London).
Egan, John Barnard, trans. 1962, Marin Mersen
universelle, Book II (1634) (Indiana University
5029).
Eggebrecht, Hans Heinrich, et al., 1972, Handwort
Terminologie (Wiesbaden).

Terminologie," Archiv fur Musikwissen

ischen Terminologie," Archivfiir

Ellinwood, Leonard, 1945, "Ars mu
Ellis, Alexander, trans. 1895, Herm
of Tone as a Psychological Basis fo
York).
Euler, Leonhard. See C. S. Smith 1960.
Evans, Edwin, Sr., trans. 1913, Richard Wagner, Opera and Drama (Lon-
don).
Federhofer, Hellmut, 1964, "Ein Salzburger Theoretikerkreis, Acta Musi-
cologica, XXXV, 50.
Ferand, Ernest T., 1958, "Guillaume Guerson's Rules of Improvised
Counterpoint (c. 1500)," Misceldnea en homenaje a Monsenor Higinio
Angles (Barcelona), p. 253.

logne).
Ferris, Joan, 1959, "The Evolution of Rameau's Harmonic Theories,"
JMT III, 231.
F6tis, Francois Joseph. See Arlin 1971.
Finkelstein, Sidney W., 1952, How Music Expresses Ideas (New York).
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