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Dictionary of the History of Ideas

Studies of Selected Pivotal Ideas
  
  

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BIBLIOGRAPHY

Pietro Aron, Lucidario in musica (Venice, 1545). Heinrich
Besseler, “Johannes de Muris,” DieMusik in Geschichte und
Gegenwart,
Vol. VII, cols. 105-15. Manfred F. Bukofzer, ed.,
Adrian Petit Coclico, Compendium Musices, Documenta
Musicologica, Vol. IX (Kassel, 1954). E. de Coussemaker,
Scriptorum de musica medii aevi, Vol. IV (Paris, 1874):
Johannes Tinctoris, “Liber de arte contrapuncti,” pp.
76-153, and “Proportionale musices,” pp. 153-77. Hans
Heinrich Eggebrecht, “Ars musica: Musikanschauung des
Mittelalters und ihre Nachwirkungen,” DieSammlung,
Zeitschrift für Kultur und Erziehung,
12 (1957), 306-22;
idem, “Der Begriff des 'Neuen' in der Musik von der Ars
Nova bis zur Gegenwart,” International Musicological Soci-
ety, Report of the Eighth Congress, New York, 1961
(Kassel,
1961), pp. 195-202; idem, Studien zur musikalischen Termi-
nologie,
Akademie der Wissenschaften und der Literatur,
Abhandlungen der geistes- und sozialwissenschaftlichen
Klasse (Jahrgang 1955), No. 10. Ernest T. Ferand, “Kompo-
sition,” DieMusik in Geschichte und Gegenwart, Vol. VII,
cols. 1423-44. G. Friedlein, ed., Anicii Manlii Torquati
Severini Boetii De institutione musica
(Leipzig, 1867). Peter
Gast, ed., Nietzsches Werke, Erste Abtheilung, Vol. II
(Leipzig, 1923). D. J. Grout, A History of Western Music
(New York, 1960). Sebald Heyden, De arte canendi (Nurem-
berg, 1537). Raymond Klibansky, Erwin Panofsky, and Fritz
Saxl, Saturn and Melancholy (London, 1964). Paul O. Kris-
teller, “The Modern System of the Arts: A Study in the
History of Aesthetics,” Journal of the History of Ideas, 12
(1951), 496-527, 13 (1952), 17-46. Edward E. Lowinsky,
“Music in the Culture of the Renaissance,” Journal of the
History of Ideas,
15 (1954), 509-53; reprinted in Renaissance
Essays from the Journal of the History of Ideas,
ed. Paul
Oskar Kristeller and Philip P. Wiener (New York, 1968);
idem, “Music of the Renaissance as Viewed by Renaissance
Musicians,” The Renaissance Image of Man and the World,
ed. Bernard O'Kelly (Columbus, Ohio, 1966), pp. 129-77;
idem, “Musical Genius—Evolution and Origins of a Con-
cept,” The Musical Quarterly, 50 (1964), 321-40, 476-95;
idem, “Renaissance Writings on Music Theory (1964),”
Renaissance News, 18 (1965a), 358-70; idem, “Taste, Style,
and Ideology in Eighteenth-Century Music,” Aspects of the
Eighteenth Century,
ed. Earl R. Wasserman (Baltimore,
1965b), pp. 163-205. Othmar Luscinius, Musurgia (Stras-
bourg, 1536). Henry S. Macran, ed., The Harmonics of
Aristoxenus
(Oxford, 1902). Marcus Meibomius, Antiquae
musicae auctores septem
(Amsterdam, 1652), chapter on
“Bacchii Senioris Introductio artis musicae.” Norbert Miller,
ed., Jean Paul, Werke, Vol. V (Munich, 1963). Hans Joachim
Moser, Paul Hofhaimer (Stuttgart and Berlin, 1929). Helmuth
Osthoff, Josquin Desprez (Tutzing, 1962-65). Carl Parrish,
ed., Dictionary of Musical Terms by Johannes Tinctoris
(London, 1963). Gerhard Pietzsch, DieKlassifikation der
Musik von Boethius bis Ugolino von Orvieto
(Halle, 1929);
idem, DieMusik im Erziehungs- und Bildungsideal des
ausgehenden Altertums und frühen Mittelalters
(Halle, 1932).
Leonardo Ricci, Anonymous (20th Century) (New York,
1962). Arnold Schering, Das Symbol in der Musik (Leipzig,
1941). Walter Serauky, Diemusikalische Nachahmungsäs-
thetik im Zeitraum von 1700 bis 1850
(Muenster, 1929).
Oliver Strunk, Source Readings in Music History (New York,
1950). Hans Thüme, Beiträge zur Geschichte des Genie-
begriffs in England,
Studien zur englischen Philologie, 71
(Halle, 1927). Pontus de Tyard, Solitaire second ou prose de
la musique,
2nd ed. (Lyons, 1555). Charles van den Borren,
“Deux Recueils peu connus d'Orlande de Lassus,” Actes du
Congrès d'histoire de l'art, Paris, 1921
(Paris, 1924), III,
833-45. J. Smits van Waesberghe, ed., Aribonis De musica
(Rome, 1951); idem, Johannis Affligemensis De musica cum
tonario
(Rome, 1950). D. P. Walker, Der musikalische
Humanismus im 16. und frühen 17. Jahrhundert
(Kassel,
1949). Bernard Weinberg, A History of Literary Criticism in
the Italian Renaissance
(Chicago, 1961). David G. Weiss,
Samuel Pepys, Curioso (Pittsburgh, 1957). R. P. Winning-
ton-Ingram, ed., Aristidis Quintiliani De musica libri tres
(Leipzig, 1963). Edgar Zilsel, DieEntstehung des Genie-
begriffes
(Tübingen, 1926).

Translations, unless otherwise indicated, are by the author
of the article.

EDWARD E. LOWINSKY

[See also Creativity in Art; Empathy; Genius; Music as a
Divine Art;
Pythagorean Harmony.]