List of historical and music theory literature

from Wikipedia, the free encyclopedia

PRELIMINARY NOTE: The music theory definition has been subject to many changes in the course of music history and cannot be clearly defined today either. The diversity of these definitions has been taken into account in this list. The Latin tracts (Antiquity AD / Middle Ages) are much more extensive in the list "Music Theory Tracts" (Wikisource) and complement this list.

Antiquity v. Chr.

  • 5th century BC - Philolaos , lost work, to which Nicomachus of Gerasa referred to around 150 with a quote. This Philolaos fragment (No. 6a) is considered genuine today.
  • around 430-421 BC - Plato : Timaeus (information on the interval proportions including the Limma proportion)
  • 5th century BC BC - Archytas of Taranto , lost work. (The axioms and evidence there passed on to Euclid in Katatomē kanonos )
  • 4th century BC - Aristoxenos : Elementa harmonica , German: Harmonic elements, see also Harmonicorum libri III (in: Meibom 1652/1977, I, 1, pp. 1–74 and note pp. 75–132)
  • early 3rd century BC - Archestratus (music theorist) , lost work, to which Porphyrios refers in his work Harmonica Ptolemaei: Commentarius (see Düring 1932/1978, p. 26f.)
  • approx. 276/273 BC BC † around 194 BC - Eratosthenes : Platōnikós (lost work, which also contains music theory topics in the two citations by Theon of Smyrna )
  • around 300 BC - Euclid : Katatomē kanonos (Latin. Introductio Harmonica, Sectio canonis , in: Meibom 1652/1977, I, 2, pp. 1–40: Introd. Harm / Sectio canonis and note. Pp. 41–68)
  • 2nd century BC BC - Adrastus of Aphrodisias , lost work to which Theon of Smyrna refers.
  • † after 132 BC - Theon of Smyrna : Theonis Smyrnaei philosophi Platonici expositio rerum mathematicarum ad legendum Platonem utilium
  • 1st century BC BC - Didymus the musician , lost work to which Porphyrios and Ptolemaios refer.

Ancient AD / Early Middle Ages

  • around 90, † after 161 - Ptolemy : Harmonica (in: Wallis 1699/1972, pp. 1–152 and Appendix pp. 153–182).
  • around 150 - Nikomachos of Gerasa : Harmonicon Encheiridion (in: Meibom 1652/1977, I, 3, pp. 1–41 and note pp. 42–60, German: Handbuch der Harmonielehre )
  • around 200 - Gaudentios : Harmonike Eisagoge (Latin: Harmonica introductio , in: Meibom I, 5, pp. 1–29 and note pp. 30–40, German: Introduction to Harmony ,).
  • 232/3, † 305 - Porphyrios : Harmonica Ptolemaei: Commentarius (in: Wallis 1699/1972, pp. 185–355)
  • End of the 3rd century - Alypios : Introductio musica (in: Meibom 1652/1977, I, 4, pp. 1–64 and note pp. 66–80).
  • late 3rd to early 4th century - Aristides Quintilianus : Perì musikês ( De musica lib. I-III , in: Meibom 1652/1977, II, pp. 1–164 and notes pp. 199–338).
  • around 300 - Iamblichos of Chalkis : Book 9 on the Pythagorean teaching of music
  • 4th or 5th century - Martianus Capella : De nuptiis Philolog. Lib. IX (in: Meibom 1652/1977, II, pp. 165-198 and note pp. 339-363).
  • 4th century? - Bacchius : Introductio artis musicae (Meibom 1652/1977, I, 6, pp. 1–25 and notes p. 26–36).
  • around 500 - Anicius Manlius Severinus Boëthius : De institutione musica
  • around 800 - Alcuin : Musica Albini
  • around 850 - Aurelian Reomensis : Musica Disciplina
  • around 900 - Abbot Hoger von Werden : Musica enchiriadis

1000-1199

1200-1299

1300-1399

1400-1499

1400-1449

1450-1499

1500-1599

1500-1549

1550-1599

1600-1699

1600-1619

1620-1639

1640-1659

1660-1679

1680-1699

1700-1799

1700-1719

  • 1700 - Andreas Werckmeister : Cribrum musicum or musical sieve . Quedlinburg and Leipzig
  • 1700 - Jean-Pierre Freillon-Poncein : La véritable manière d'apprendre à jouer en perfection du haut-bois, de la flûte et du flageolet ... Paris
  • 1700 - Johann Joseph Fux : Exempla dissonantiamm ligatamm
  • 1700 - Johann Kuhnau : The musical quack salver
  • 1700 - Jean-Pierre Freillon-Poncein : La véritable manière d'apprendre à jouer en perfection du haut-bois, de la flûte et du flageolet ... Paris
  • 1700 - Jacques Boyvin : Traité abrégé de l'accompagnement pour l'orgue et pour le clavecin . Paris
  • 1701 - Johann Georg Ahle : Musical winter talks
  • 1701 - Johann Beer : Bellum musicum or musical war
  • 1701 - Tomáš Baltazar Janovka : Clavis ad thesaurum magnae artis musicae . Prague
  • 1701 - Georg Muffat : Foreword to Extra-Read Instrumental Music First Gathering (Exquisitoris harmoniae). Passau
  • 1701 - Joseph Sauveur : Principes d'acoustique et de musique, ou système général des intervalles des sons. in: Mémoires de l'Académie Royale des Sciences
  • 1701 - Philipp Jacob Boeddecker : Manuductio nova methodico-practica ad Bassum generalem . Stuttgart (posthumous)
  • 1702 - Monsieur de Saint-Lambert : Les principes du clavecin
  • 1702 - Joseph Sauveur : Application des sons harmoniques
  • 1702 - José de Torres : Reglas generales de accompanar, en órgano, clavicordio, y harpa ... Madrid 1702, expanded 1736
  • 1702 - Johann Philippreiber : Strange Invention: to compose an aria in a single melody from all tones and chords, also every measure
  • 1702 - Andreas Werckmeister : Harmonologia musica or brief instructions for musical composition . Frankfurt and Leipzig
  • 1703 - Johann Kuhnau : Fundamenta compositionis
  • before 1703 - Roger North : Cursory Notes of Musicke
  • before 1703 - Roger North : Notes of Me
  • 1704 - Johann Baptist Samber : Manuductio ad Organum, that is: Thorough and safe guidance through the most necessary solmisation to the noble art of striking . Salzburg
  • 1704 - Johann Phillipreiber : The accurate organist in general bass . Jena
  • 1704 - Diego Fernández de Huete : Compendio numeroso ..., segunda parte . Madrid
  • 1705 - Gottfried Keller : Rules for Playing a Thorough Bass
  • 1705 - Charles Masson : Divers traitez sur la composition
  • 1705 - Thomas Salmon : The Theory of Musick Reduced to Arithmetical and Geometric Proportions
  • 1705 - Benedetto Marcello : Lettera famigliare d'un accademico filarmonico, et arcade discorsiua sopra un libro di duetti, terzetti, e madrigali a più uoci stampato in Venezia da Antonio Bortoli l'anno 1705 (Bologna, Museo Internazionale e Biblioteca della Musica, MS H. 46)
  • 1706 - Johann Georg Neidhardt : Best and lightest temperature
  • 1706 - Zaccaria Tevo : Il musica testore
  • 1706 - Angelo Michele Bartalotti : Regole utilissime per apprendere con fundamento, e facilità il Canto Fermo . Bologna
  • 1707 - Michel de Saint-Lambert : Nouveau traite de l'accompagnement
  • 1707 - Johann Baptist Samber : Continuatio ad Manuductionem, that is: Continuation of the Manuduction or hand-guidance for playing organs . Salzburg
  • 1707 - Joseph Sauveur : Méthode générale pour former les Systèmes tempérés de Musique, et du choix de celui qu'on doit suivre
  • 1707 - Gottfried Keller : Rules, or a compleat method to play a thorough bass upon the harpsichord, organ or arch lute . London
  • 1707 - Monsieur de Saint-Lambert : Nouveau Traité de l'accompagnement du clavecin, de l ´Orgue, et des autres instruments . Paris
  • 1707 - Jacques-Martin Hotteterre : Principes de la flûte traversière, ou flûte d'Allemagne, de la flûte à bec ou flûte douce et du hautbois, divisez par traictez . Paris
  • 1707 - Franz Xaver Murschhauser : Fundamentally short and easy hand guidance as well as figurative and choral music . Munich
  • 1707 - Andreas Werckmeister : Musical Paradoxal Discourse . Quedlinburg
  • 1708 - Francesco Gasparini : L'armonico pratico al cimbalo . Venice
  • 1708 - Friedrich Erhard Niedt : Musical ABC for the benefit ...
  • 1708 - Johann Gottfried Walther : Praecepta of the musical composition . Weimar
  • 1710 - Friedrich Erhard Niedt : Musical handbook, part I
  • 1710 - Roger North : Annotations to Capt. Prencourt's Tract of the Continued or thro-base .
  • 1710 - Johann Baptist Samber : Elucidatio musicae coralis .
  • 1711 - Johann David Heinichen : Reinvented and thorough instruction . Hamburg
  • 1711 - Joseph Sauveur : Table generale des sistemes temperes .
  • 1711 - Antonio Filippo Bruschi : Regole per il contrapunto e per l'accompagnatura del basso continuo . Lucca
  • 1712 - Gottfried Wilhelm Leibniz : Principes de la nature .
  • 1713 - Johann Mattheson : The newly opened orchestra . Hamburg
  • 1713 - Joseph Sauveur : Rapport des sons des cordes
  • 1714 - Santiago de Murcia : Resumen de accompañar la parte con la guitarra . Antwerp
  • 1714 - Geminiano Sangiovanni : Primi ammaestramenti della musica figurata ... come pure vi si danno le regole del basso continuo per ben accompagnare nel clavicembalo, et organo in parte che canta e che suona . Modena
  • 1714 - Anonymous: Regole per imparare a sonare il Cimbalo ò Organo
  • 1714 - Alessandro Scarlatti : Regole per harpsichord .
  • 1714 - Alessandro Scarlatti : Regole per Principianti .
  • 1715 - Johann Heinrich Buttstedt : Ut, mi, sol, re, fa, la .
  • 1715 - Roger North : An Essay of Musicall Ayre .
  • 1715 - Roger North : The Theory of Sounds .
  • 1715 - Bernardo Pasquini : Regole del Sig.Bernardo Pasquini per bene accompagnare con il harpsichord ad uso di Giuseppe Gaetani da Zofi . In Roma dal di 7. Gennaio
  • 1716 - François Campion : Traité d'Accompagnement et de composition selon la règle des octaves de Musique . Paris
  • 1716 - Louis-Nicolas Clérambault : Regles d'accompagnement
  • 1717 - Johann Kuhnau : Statement about the orchestra dispute
  • 1717 - Johann Mattheson : The protected orchestra
  • 1717 - Friedrich Erhard Niedt : Musical handbook . Hamburg part II
  • 1717 - Alexander Bayne : An Introduction to the Knowledge and Practice of the Thoro'bass . Edinburgh
  • 1718 - Anonymus: Signpost, which one does not convey solely for the reason to strike the organ correctly ... Augsburg
  • 1719 - Johann Beer : Musical Discourses
  • 1719 - Johann Mattheson : Exemplary organist rehearsal in the article from General-Bass . Hamburg
  • 1719 - Matthaeus Gugl : Fundamenta partiturae . Salzburg 1719, Augsburg 1727
  • 1719 - Jean-François Dandrieu Principes de l'Accompagnement du Clavecin . Paris c.1719

1720-1739

1740-1759

1760-1779

1780-1799

1800-1899

1800-1819

1820-1839

  • 1820/35 - Georg Wilhelm Friedrich Hegel : Lectures on aesthetics
  • 1821 - Jérôme-Joseph de Momigny : La seule vraie théorie de la musique
  • 1823 - AE Crelle : Something about musical expression and performance
  • 1824–26 - Antonin Reicha : Traité de haute composition musicale I + II (German Reicha / Czerny 1832–35, vols. III + IV)
  • 1825 - François-Joseph Fétis : Traité du contrepoint et de la fugue
  • 1825 - Anton Friedrich Justus Thibaut : About the purity of music
  • 1827 - Heinrich Birnbach : About the different forms of larger instrumental pieces of all kinds and their arrangement (series of articles Berliner Allg. Mus. Zeitung)
  • 1830 - Jelensperger : L'harmonie au commencement du dix-neuvième siècle et Méthode pour L'étudier
  • 1830/32 - Jacob Gottfried Weber : About a particularly remarkable passage in a Mozart violin quartet from C.
  • 1832–35 - Antonin Reicha : (transl. Carl Czerny): Complete textbook of musical composition , 4 volumes
  • 1835 - Luigi Cherubini : Cours de contrepoint et de fugue
  • 1835 - Robert Schumann : Symphony by Hector Berlioz (analysis of the Symphonie fantastique)
  • 1835 - Simon Sechter : Practical thorough bass school
  • 1837–47 - Adolf Bernhard Marx : The theory of musical composition, practically theoretical , 4 volumes (I, II. The free composition, III. Applied composition theory, IV. Continuation; 1837, 1838, 1845, 1847).
  • 1839 - Adolf Bernhard Marx : General music theory

1840-1859

1860-1879

1880-1899

  • 1880 - Hugo Riemann : Sketch of a new method of harmony theory ; from 2nd edition as handbook of harmony theory, later as handbook of harmony theory and modulation theory
  • 1880 - Rudolf Westphal : General theory of musical rhythm
  • 1883-90 - Carl Stumpf : tonal psychology , 2 volumes
  • 1883 - Salomon Jadassohn : Textbook of Harmony
  • 1883 - Mathis Lussy : Le rythme musical
  • 1884 - Alexander John Ellis : The Musical Scales of Various Nations
  • 1884 - Salomon Jadassohn : Textbook of simple, double, triple and quadruple counterpoint
  • 1884 - Hugo Riemann : Musical dynamics and agogics. Musical phrasing textbook
  • 1884 - Franz Marschner : The sound script. A contribution to the uniform design of harmony
  • 1887 - Hugo Riemann : Basic lines of musical aesthetics. How do we listen to music?
  • 1887 - AJ Goodrich : Complete Musical Analysis
  • 1887–90 - Hermann Kretzschmar : Guide through the concert hall , 3 volumes
  • 1888 - Carl Friedrich Weitzmann : Handbook of the theory of music
  • 1888 - Hugo Riemann : textbook of simple, double and imitating counterpoint
  • 1889 - Hugo Riemann : Outline of the theory of composition / Catechism of the theory of composition
  • 1890 - Hugo Riemann : Catechism of Phrasing (with Carl Fuchs)
  • 1891 - Hugo Riemann : The redesign of the theory of harmony
  • 1893 - Hugo Riemann : Simplified harmony or the theory of the tonal functions of chords
  • 1893/97 - Ebenezer Prout : Musical Form / Applied Forms
  • 1895 - Anatole Loquin : L'harmonie rendue
  • 1898 - Hugo Riemann : History of the music theory in the IX.-XIX. century

Works without indication of the year of publication

  • Guido of Arezzo : Regulae Rhythmicae
  • Guido of Arezzo : Epistola de ignotu cantu / Epistola ad Michaelem
  • Johann Georg Albrechtsberger : General bass school . Vienna
  • Anonymous: Rules; or a short and compleat method for attaining to play a thorough bass . London 17 [-]
  • Anonymus: Thorough Bass at One View with Directions for Accompaniment and Proper Examples . London 17 [-]
  • Anonymi: I-Bc, Collection de manuscrits sur la basse continue. (List in P. Williams, 1970 I, p. 108)
  • Anonymous: Modo ò sia Regole per accompagnare il Basso continuo per la Viola da Gamba del CS I-Bc Ms D 117
  • Anonymous: Regole di canto figurato, contrappunto, d'accompagnare . I-Bc Ms. E. 25
  • Anonymous: Regole per Accompagnare sopra la Parte . I-Rli Ms. R 1
  • Anonymous: Contrapuncti demonstratio varia . I-Rli Ms. C 9
  • Anonymous: Regole di canto figurato, e contrappunto et ancora il vero modo di suonare sopra la parte . I-Bc Ms. P. 138
  • Anonymous: Regole per bene accompagnare con il harpsichord ., I-Bl Ms. D 138 (ii)
  • Johann Heinrich Hesse : Short but adequate instruction on the basso continuo, how it can be learned very easily, even without a teacher
  • Mattei, Stanislao : Pracita d'accompagnato . Bologna

Web links

Wikisource: Music Theory Treatises  - Sources and Full Texts

Music theory works online at IMSLP.org

Individual evidence

  1. ^ Thomas Christensen: The Cambridge History of Western Music Theory . Cambridge 2002. Also: David A. Damschroder, David Russell Williams: Music Theory from Zarlino to Schenker A Bibliography and Guide . Stuyvesant NY 1991.
  2. ↑ Original text by Philolaos and further information on the Pythagorean theme
  3. ↑ Stefano Vanneo - thesaurus.cerl.org
  4. ^ Johann Baptist Samber: Manuductio ad Organum
  5. ^ Johann Gottfried Walther: Musicalisches Lexicon or Musicalische Bibliothec . (PDF) Urtext.
  6. ↑ Johann Mattheson: The perfect Capellmeister . (PDF) Urtext.
  7. ↑ Hermann von Helmholtz: The theory of tone sensations as a physiological basis for the theory of music. ( Memento of the original of July 13, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Abstract. @1@ 2Template: Webachiv / IABot / kilchb.de
  8. ↑ Egidius Doll: Sources on improvisation lessons on keyboard instruments from 1600 to 1900 . Würzburg 1987, p. 205.