I. Sociocultural Influences on Music
II. Function of Music
III. Style and Performance Practice
- Formal Organization
- Instrumentation and Tone Color
- Performance Practice
IV. Music for Voices
Miscellaneous Secular Forms
- Composite Forms
V. Music for Instruments
- Composite Forms
VII. Historians, Theorists, and Manuscript Sources
Martin Agricola (1486-1556) - a German theorist whose "Musica instrumentalis deudsch" (Wittenberg 1529) remains an authoritative work on the instruments of the time. It is a valuable source for the history of notation.
Henricus Glareanus (1488-1563) - a Swiss philosopher, theologian, historian, poet, and musical scholar. His "Dodechachordon" (Basle 1547) advocated the completion of the modal series to twelve and greatly influenced the concept of modality and tonality. A German translation of this work was published in 1888.
Pietro Aaron (1489-1545) - one of the most important Italian theorists of the early 16th century. "Thoscanello della Musica" (Venice 1523) contains descriptions of contrapuntal rules, the chord formations employed in his day.
Gioseffo Zarlino (1517-1590) - discussed various topics concerning music of his day in the four books that make up his major work "Instituzioni harmoniche" (Venice 1558). This treatise includes rules of counterpoint, intonation, treatment of text, and the general excellence of music.
Thomas Morley (1557-1602) - wrote and published the earliest treatise on music published in England. "A Plaine and Easie Introduction to Practicall Musicke" (London 1597) is a discourse on all phases of music making. Reprinted in 1937, this is the most important English book on musical theory from the Renaissance. Another modern edition was published in 1952.
The Trent Codices contain sacred and secular polyphonic music of the 15th century in six volumes. They include perhaps the richest collection of music by most of the masters of 15th-century polyphony.