Davide Daolmi, “Nicola Vicentino”, in Dizionario Biografico degli Italiani (2020).*

* Un sentito ringraziamento a David Gallagher le cui ricerche, generosamente
condivise, si sono rivelate preziose per la stesura di questo articolo.

Bibliografia

Aaron 1523 — Abondante 1548 — Abravanel 1535 — Adams 2007 — Agee 1982 — Alves Barbosa 1977 — Ambros 1878 — Andrés 2014 — Andrews 1958 | 1966 — Antico 1517 — Apel 1937 | 1937/a | 1981 — Arteaga 1778 — Artusi 1603 — Attaignant 1531 | 1531/a | 1531/b — Baini 1828 — Bank 1972 — P. Barbieri 1983 | 1987 | 1987/a | 2001 | 2008 | 2008/a — Barblan 1974 — Bent 1972 | 1980 | 1998 | 2001 | 2002 | 2003 — Benthem 1980 — Benvenuti 1932 — K. Berger 1975 — Bermudo 1549 — Bernstein 1986 | 1989 | 1998 — Bertaggia 1987 — Bertrand 1576 | 1578 — Bizzarini 2012 — Blackburn 1991 | 2012 — Blackwood 1975 — Boorman 1990 — Bossuyt 1998 — Bottrigari 1594 | 1602 — Bray 1978 | 1978 | 1978 — Brink 1966 — H. M. Brown 1976 | 1976/a — Bugati 1587 — Buja 1996 — Caldwell 1980 — Campagnolo 1995 — Canal 1879 — Canguilhem 2013 — Careri 1984 — Casimiri 1939 — Catelani 1851 — Cattin 1976 — Cavazzoni 1523 — Ceulemans-Blackburn 2001 — Charteris 1992 — Chew 1980 — Chilesotti 1912 — Ciroldi 2004 — C. Collins 2013 — D. Collins 1993 — Cordes 2007 — Costeley 1570 — Dahlhaus 1963 | 1982 — Danckerts 1551 — Daniels 1962 | 1965 — Danuser 2008 — Daolmi 1999 | 2020 — De Benedictis 2001 | 2007 — DeFord 2015 — Della Torre 1994 — Dimmick-Gaylord 1934 — Doni 1635 | 1647 — Drabkin 1980 — Dumitrescu 2001 | 2004 | 2007 — D’Accone 1973 | 1979 | 2007 — Einstein 1949 — Fanti-Castaldo 2008 — Feneyrou 1993 — Ferrabosco 1542 — Fétis 1830 — Ficker 1914 — V. Galilei 1591 — Gallagher 2010 — Gallo-Mantese 1964 — Gardano 1539 | 1545 | 1551 | 1561 — Gasparella 1880 — Giovannelli 1568 — Gori-Doni 1763 — Grove 1980 | 2001 — Haar 1977 — Haberl 1884 — Hammond 1983 — Harrán 1973 | 1976 — Hawkins 1776 — Hermsdorf 1994 — Heseltine 1922 — Hollingsworth 2004 — Hoste 1547 — Howell-Hultberg 1991 — Jacobs 1968 — Jeppesen 1923 | 1943 — Kallenbach-Greller 1926 — Kämper 1970 — Kaufmann 1961 | 1961/a | 1963 | 1963/a | 1966 | 1970 — Kendrick 2001 — Kircher 1650 — Kirnbauer 2005 | 2015 | 2015/a | 2021 — Kreitner 2011 — Kroyer 1902 — Kuhn 1897 — La Fage 1864 — Leoni 1997 — Lesure-Thibault 1955 — Levy 1955 — Lewis 2005 — Lichtenthal 1826 — Lindley 1982 | 1987 — Lockwood 1957 | 1965 | 1968 — Lomazzo 1584 — López-Peláez 2006 — Lowinsky 1946 | 1954 | 1966 | 1967 | 1982 | 1989 — Lusitano 1553 — Macchini 1987 — Macey 1983 | 1998 | 1999 — Maffei 2006 — Malipiero 1942 | 1946 | 1966 | 1966/a | 1976 — Maniates 1975 | 1979 | 1984 | 1992 | 1993 | 1993/a | 1996 | 1997 — Mantese 1942 | 1956 — Martini 1781 — McDonald 2012 — McHose 1947 — McKinney 1998 | 2001 | 2005 | 2010 | 2014 — Mellange 1572 — P. Miller 1937 | 1939/a — Moderne 1532 — Monson 1990 — Morelli 2009 — Morsolin 1878 — Mutch 2015 — Newcomb 1997 | 2015 — Nick 1967 — Niedermüller 1997 | 2001 | 2006 — Noble 1963 — Noblitt 1982 — Noske 1959 — Notation 1980 — Otaola 1994 — Owens 1986 | 1987 | 1995 — O’Kelly 1966 — Palisca 1953 | 1985 — Pantarotto 2017 — Paolini 1589 — Parise 2014 — Patrizi 1586 — Plamenac 1966 — Pratt 1930 — Predari 1858 — Pressacco 1985 — Rasch 2002 — Ratte 1991 — Reaney 1969 | 1979 — Rempp 1980 — Riemann 1898 — Righini 1974 — Rippe 1981 — RISM A/I 2003 — Rodio 1587 — Romano 1577 — L. Rossi 1666 — Rusconi 2006 — Sabaino 2005 — Salinas 1577 — Santa María 1565 — Sartori 1955 — Schmusch 2005 — Schwartz 1886 — Schwind 1995 — Scotto 1570 — Seiffert 1901 — Shaw 1961 — Sigonio 1571 — Silbiger 1990 — Simonsfeld 1902 — Slim 1978 — So 2015 — Spechtshart 1488 — Steinhardt 1951 — Stras 2017 — Stumpf 1883 — Taglia 1555 — Teo 1989 — Tiella 1975 | 1976 | 1980 | 1981 | 2003 — Tiraboschi 1782 — Toft 1992 — Torchi 1907 — Trachier 2005 — Tucher 1873 — Turrentine 1998 — Tyard 1555 | 1587 — Uberti 1981 — Urquhart 1993 | 1994 | 1997 | 1999 | 2003 | 2015 | 2015/a — Vaccaro 1988 — Van der Meer 1993 — Vicentino 1546 | 1555 | 1560 | 1561 | 1570 | 1571 | 1571/a | 1571/b | 1572 — Wallner 1925 — Warren-Griffiths 2003 — Westrup 1961 — Wibberley 1996 | 2004 — Wild 2014 | 2014/a — Wild-Schubert 2008 — Willaert 1545 — Wolf 1900 — Wood 1984 — Zanoncelli 1988 — Zarlino 1558 | 1571 | 1589 | 1602 — Zenck 1933 | 1937 | 1950 — Zeno 1753

1480
	Spechtshart 1488 Hugo Spechtshart [and uncredited annotator], Flores Musice omnis cantus Gregoriani (Strasbourg: Johann Prüss, 1488). (Munich, Bayerische Staatsbibliothek, 4 Mus.th. 702)
1510
	Antico 1517 Frottole intabulate da sonare organi — Roma: Andrea Antico, 1517. — in Jeppesen 1943. — ed. Benvenuto Disertori (Milano: Ricordi, 1964). — [repr.] ed. Giuseppe Radole (Bologna: Forni, 1970, ²1984). — [repr.] ed. Peter Sterzinger (Wien, München: Doblinger, 1987). ed. Maria Luisa Baldassari (Bologna: Ut Orpheus, 2016).
1520
	Aaron 1523 Pietro Aaron, Thoscanello de la musica — Venezia: Vitali, 1523 (in Vinegia: per maestro Bernardino et maestro Mattheo de Vitali fratelli venetiani, nel di xxiiii di luglio 1523). Toscanello in musica ... nuouamente stampato con l’aggiunta da lui fatta et con diligentia corretto (ibidem, 1529). [altra aggiunta] (ibidem, 1531) Vineggia: per Marchio Sessa, 1539 a dì xix marzo — (alter) Venetia: appresso Domenico Nicolino, 1562. -- [repr. 1529] Bologna: Forni, 1969, ²1999. -- [Engl. trans.] ed. Peter Bergquist (Colorado Spring: Colorado College music press, 1970). -- [repr. 1539] ed. Georg Frey (Kassel: Bärenreiter, 1970).
	Cavazzoni 1523 [Girolamo Cavazzoni], Recerchari motetti canzoni composti per Marcantonio di Bologna. Libro primo — Venetiis: apud Bernardinum Vercelensem, 1523. — Girolamo Cavazzoni: Musica sacra, ricercari e canzoni, ed. Giacomo Benvenuti (Milano: Istituto Editoriale Italiano, 1919) — and Jacobo Fogliano, Julio Segni, anonimi: Ricercari e ricercate, ed. Giacomo Benvenuti (Milano: I classici musicali italiani; Leipzig: Friedrich Hofmeister, 1941). — in Jeppesen 1943. — [repr. 1523] New York: Broude Brothers, 1974.
1530
	Attaignant 1531 Dixneuf / Vingt et cinq / Vingt et six chansons musicales reduictes en la tabulature des orgues, espinettes, manicordions et telz semblables instrumentz musicaulx, 3 vols \|\| Quatorze gaillardes neuf pavennes, sept branles et deux basses dances le tout reduict de musique en la tabulature du ieu Dorgues Espinettes Manicordions & telz semblables instrumentz musicaulx \| \| \| Paris: Pierre Attaingnant, 1530 [= 1531]. Chansons und Tänze, ed. Eduard Bernoulli, 5 vols [I-IV = repr.; V = Textbeigabe] (München: Carl Kuhn, 1914).
	Attaignant 1531/a Magnificat sur les huit tons avec Te deum laudamus et deux préludes: le tout mys en la tabulature des orgues, espinettes et manicordions \|\| Tabulature pour le jeu d’orgues, espinettes et manichordions sur le plain chant de Cunctipotens et Kyrie fons \| Paris: Pierre Attaignant, 1531. — [repr.] 2 vols, ed. Marcel Degrutère (Courlay: J. M. Fuzeau, 1998-2000).
	Attaignant 1531/b Treze motetz musicaulx avec ung prelude, le tout reduict en la tabulature des orgues, espinettes et manicordions et telz semblables instrumentz (Paris: Pierre Attaignant, 1531).
	Moderne 1532 Primus liber cum quatuor vocibus: Motteti del fiore (Lyons: Jacques Moderne, 1532) [Rism 1532¹⁰]
	Abravanel 1535 [Yehuda ben Yitzhak Abravanel], Dialogi d’amore di maestro Leone medico hebreo, ed. Mariano Lenzi Rome: per Antonio Blado d’Assola, 1535. [2nd ed.] Venice: in casa de’ figliuoli di Aldo [Manutio], 1541 \| [repr.] ibidem, 1545. \| \| [Fr. trans.] Leon Hebrieu, De l’amour [trans. attrib. Pontus de Tyard], 2 vols (Lyon: Jean de Tournes, 1551). In the 1541 and 1545 editions the author is credited as “Leone medico, di natione hebreo”. In the 1541 edition the orthography of the title is Dialogi di amore; in the 1545 edition it is Dialoghi di amore. The publisher Jean de Tourne states that his 1551 French edition is based on the 1545 Italian edition [see De l’amour, 1: f. A2r, in the printer’s foreword entitled “L’imprimeur au lecteur” on ff. A2r–v]. I have been unable to trace when or by whom the attribution of the 1551 French edition to Pontus de Tyard was first proposed; it rests partly on the fact that Tournes was Tyard’s usual publisher; and especially on the fact that the translator’s prefaces entitled “Le traducteur a sa dame” in both volumes of Tourne’s edition are signed “Amour immortelle” [De l’amour, 1: f. A4v, at the end of the preface on ff. A3r–A4v; 2: f. AA4r, at the end of the preface on ff. AA2r–AA4r], the same soubriquet that is used to sign the prefaces to several other volumes published by Tournes that are known to be by Tyard, including the 1555 Solitaire second [see Tyard 1555: 4, at the end of the preface “A Pasithee” on that page].
	Gardano 1539 Primus liber cum quatuor vocibus … Fior de mottetti tratti dalli Mottetti del fiore, 4 parts (Venezia: Antonio Gardano, Venice, 1539) [Rism 1539¹²] (CATB) British Library, K.3.d.5 (AT) Munich, Bayerische Staatsbibliothek [shelfmark 4 Mus.pr. 56, Beibd. 2
1540
	Ferrabosco 1542 Domenico Maria Ferrabosco, Il primo libro de madrigali a quatro voci — Venetia: Antonio Gardane, 1542. — [mod. ed.] in Charteris 1992. — [nod. ed.] by Owens 1995.
	Gardano 1545 Flos florum, primus liber cum quatuor vocibus (Antonio Gardano, Venice, 1545) [Rism 1545⁴] London, British Library, K.3.b.8 Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 42, Beibd. 1
	Willaert 1545 Adrian Willaert, Musica quatuor vocum (Motecta vulgo appellant) Nunc denuo summa diligentia recognita ac in lucem exeuntia Additis etiam ab authore multis motectis que in priori editione desiderabantur. Liber secundus (Venezia: Gardano, 1545).
	Vicentino 1546 Del unico Adrian Wilaerth discipulo don Nicola Vicentino Madrigali a cinque voci, per theorica et practica, da lui composti al nuovo modo dal celeberrimo suo maestro ritrovato. Libro primo, 5 parti: SATB5 (Venezia: Scotto, 1546). — info (da Bernstein 1998, n. 59) — copie: Verona (SATB5) \| Vienna (SAT5) \| Modena (B) \| Parigi (A) \| Berkeley (A) — [mod. ed.] in Kaufmann 1963: pp. 1-76. — [riduz. per tast.] Primo libro dei madrigali a cinque voci, ed. Paola Talamini (Latina: Il levante, 2013). 1. La pastorella mia \| 2. Quando vostri begli occhi \| 3. In quel ben nato aventuroso giorno \| 4. Quando il desir a riveder mi spinge \| 5. Madonna lo trov’ ogni bellezza \| 6. Se mai candide rose / Le bionde treccie \| 7. Fin che m’amast’ amai / Ma poi che nuovo amor \|8. Fiamma gentil / Tosto ch’ei sente \| 9. Alma gentil / Deh, sol degli occhi mei \| 10. Amor io son si lieto / O cor felice mio \| 11. Da quei begli occhi / Et s’in me’l vero \| 12. O chiara luce / Quai d’eloquentia \| 13. Se la mia donna miro / Ond’ io ringratio amor’ \| 14. Madonna che per voi / Mentre ch’io guardo \| 15. Si grand’ é la pietà \| 16. Deh, così pietos’ io \| 17. Amor, ecco ch’io mor (Dialogo à 7 vv.) [audio] \| 18. Capitolo de la passione de Cristo: Inudita pietà, mirabil pagno / Piange inferma natura / O Sacro Sangue
	Hoste 1547 Hoste da Reggio, Primo Libro de Madrigali a quatro voci di l’Hoste da Reggio novamente da lui composti et posti in luce — Venezia: Antonio Gardano, 1547. — [repr.] Delli madrigali a quatro voci. Composti da l’Hoste da Reggio ... Edizione nouamente da li suoi proprii exemplari corretti et post’in luce (Venetiis: apud Hieronymum Scotum, 1554). — [mod. ed.] Owens 1987
	Abondante 1548 Intabolatura di lauto: Libro secondo. Madrigali a cinque & a quattro, canzoni franzese a cinque & a quattro, motetti a cinque & a quattro, recercari di fantasia, napolitane a quattro, intabulati & accomodati per sonar di lautto per lo excellentissimo Julio Abondante, novamente poste in luce & per lui medemo corretti (Venezia: Girolamo Scotto, 1548). — info (Rism) — copie: Parigi \| Monaco [mod. ed.] in Chilesotti 1912: 550-552
	Bermudo 1549 Juan Bermudo, Declaración de instrumentos musicales Ossuna: Juan de León, 1549. [2nd ed.] Ossuna: Juan de León, 1555 — [repr. 1555] ed. Macario Santiago Kastner (Kassel, Basel: Bärenreiter, 1957).
1550
	Danckerts 1551 Ghiselin Danckerts, [Sopra una differentia musicale] – tre copie autografe: Vallicelliana, R.56A.15 (prima vers.) \| R.56A.33 (seconda) \| R.56B (terza) \| cfr Lockwood 1965 – Roma, Casanatense, 2880 (copia di Baini descritta in La Fage 1864: i.224-239)
	Gardano 1551 Intabolatura nova di varie sorte de balli da sonare per arpichordi, claviciembali, spinette et manachordi: raccolti da diversi eccellentissimi autori: novamente data in luce ... Libro Primo (Vinetia: Antonio Gardane, 1551).
	Lusitano 1553 Vincenzo Lusitano, Introdutione facilissima e novissima di Canto fermo, figurato, contraponto semplice et in concerto con regole generali per far fughe differenti sopra il canto fermo a 2,3 et 4 voci et compositioni, proportioni, generi diatonico, cromatico, enarmonico Roma: per Antonio Blado, 1553 \| Brussels, Bibliothèque royale Fétis 5.317 A (RP) Venetia: per Francesco Marcolini, 1558. Venetia: per Francesco Rampazetto, 1561 \| Brussels, Bibliothèque royale Fétis 5.319 A (RP) — [repr. 1561] ed. Giuliana Gialdroni (Lucca: Lim, 1989). — [Fr. trans.] in Canguilhem 2013: 347-372.
	Taglia 1555 Pietro Taglia, Il primo libro de madrigali a quattro voci — Milano: Francesco & Simone Moscheni, 1555. — [mod. ed.] by Jessie Ann Owens (New York, London: Garland, 1995).
	Tyard 1555 Pontus de Tyard, Solitaire second, ou Prose de la Musique Lyon: Jean de Tournes, 1555 \| (alter) — [2nd ed.] Solitaire second, ou, Discours de la Musique in Tyard 1587: ff. 38r–132r, 369r [errata], 370r. The 1555 edition has no explicit author credit, but p. 2 has a woodcut captioned “P. D. T. en son an 31” that is unequivocally a portrait of Tyard – compare e.g. the engraved portrait captioned “Ætat. 54. A.^o 1577.” on one of the unnumbered pages at the beginning of Tyard 1587 (whose title page explicitly credits Tyard as author).
	Vicentino 1555 Nicola Vicentino, L’antica musica ridotta alla moderna prattica — In Roma: appresso Antonio Barré, 1555, ²1557 — copie on line: Bologna \| Monaco \| Napoli \| Paris \| Roma \| Wien (1557) \| Washington — [facs.] ed. Edward E. Lowinsky, Kassel: Bärenreiter, 1959. — [engl. trans.] ed. Claude V. Palisca, New Haven CT: Yale University Press, 1966. — [repr. engl. trans.] Maniates 1996 [dig. ed.] ed. Frans Wiering, TMI, 2000.
	Zarlino 1558 Gioseffo Zarlino, Le istituzioni armoniche ... nelle quali, oltre le materie appartenenti alla musica, si trovano dichiarati molti luoghi di poeti, d’istorici et di filosofi, sì come nel leggerle si potrà chiaramente vedere Venezia: [Pietro da Fino], 1558 — (alter) — (alter) [repr.] Venezia: Francesco Sanese, 1561, ²1562, ³1572. [2nd. ed.] Venezia: Francesco Sanese, 1573 — (alter) [repr. 1573] in Zarlino 1589, vol. 1. [repr. 1573] in Zarlino 1602, vol. 1. — [repr. 1558] New York: Broude Brothers, 1965. — [repr. 1573] Ridgewood nj: Gregg Press, 1966. — [Engl. trans. (3rd part)] The art of counterpoint: Part three of ‘Le istitutioni harmoniche’ 1558, ed. Guy A. Marco, Claude V. Palisca (New Haven: Yale University Press, 1968). — [Engl. trans. (4th part) ] On the modes: Part four of ‘Le Istitutioni Harmoniche’ 1558, ed. Vered Cohen, Claude V. Palisca (New Haven: Yale University Press, 1983). — [repr. 1561 and 1589] indexes by Iain Fenlon and Paolo Da Col (Bologna: Forni, 1999). ed. Silvia Urbani (Dosson di Casier: Diastema, 2011). [on line ed.] in TMI — info in LdM
1560
	Vicentino 1560 Nicola Vicentino, [4 letters to card. Granvelle (1560-61)], in Madrid, Palacio Real, Biblioteca y Archivo, Mss. II/2274, f. 161r (Venezia, 14.ix.1560) \| f. 207r (Venezia, 27.xii.1560) — II/2275, f. 13r (Venezia, 4.i.1561) \| f. 212r (Venezia, 8.iii.1561) Two of these letters were first referenced in Bossuyt 1998: 442. David Gallagher, working on his radio documentary (Gallagher 2010), found in Madrid 3 letters. He published reproductions of two of the letters (14.ix.1569, 4.i.1561) on a BBC website (that no longer exists), and then Martin Kirnbauer found a fourth letter (8.iii.1561). Thanks to David Gallagher for this information.
	Gardano 1561 l Terzo libro delle muse a cinque voci composto da diversi eccellentissimi musici con uno madrigale a sei et uno dialogo a otto, novamente stampato, 5 parts — Venezia: Antonio Gardano, 1561 [Rism 1561¹⁰] (Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 155, Beibd. 5) — [repr.] Venezia: Antonio Gardano, 1569 [Rism 1569¹⁸] — [repr.] Venezia: Antonio Gardano, 1580 [Rism 1580⁹]
	Vicentino 1561 Nicola Vicentino, [Descrizione dell’arciorgano] (Venezia: Nicolò Bevilacqua, 1561) [info] — [repr.] in Catelani 1851, pp. 209-210. — [Germ. trans.] in Wolf 1900. — [Engl. trans.] in Kaufmann 1961/a — [facs.] in Kaufmann 1966: 172. [digital ed. + Germ. trans.] ed. Martin Kirnbauer (2015).
	Santa María 1565 Tomás de Santa María, Libro llamado Arte de tañer Fantasia, assi para tecla como para vihuela y todo instrumento, en que se pudiere tañer a tres y a quatro vozes y a mas..., 2 vols — Valladolid: Francisco Fernandez de Cordoua, 1565. — [Ger. trans. (partial)] ed. Eta Harich-Schneider, Ricard Boadella (Leipzig 1937). — [partial ed.] Oeuvres transcrites de l’Arte de tañer fantasia (Valladolid 1565), ed. Pierre Froidebise (Paris Éd. musicales de la Schola Cantorum, 1961, 2/1996) — [repr. 1565] ed. Denis Stevens (Farnborough: Gregg International Publisher, 1972). — [repr. 1565] Genève: Minkoff, 1973 — New York: Kalmus, 1980 — [repr. 1565] Madrid: Arte Triumpharia, 1982. — [Engl. trans.] ed. Howell-Hultberg 1991. — [crit. ed.] by Luis Antonio Gonzáles Marín (Barcelona: Consejo superior de investigaciones cientificas, Institucion Milà i Fontanals, Departamento de musicologia, 2007).
	Giovannelli 1568 Novi thesauri musici ... quo selectissime planeque nouae, nec unquam in lucem editae cantiones sacrae (quas vulgo moteta vocant) continentur octo, septem, sex, quinque ac quatuor vocum, a prestantissimis ac huius ætatis, precipuis symphoniacis compositae, quae in sacra Ecclesia catholica summis solemnibusque festivitatibus, canuntur, ad omnis generis instrumenta musica, ed. Pietro Giovannelli, 6 parts Venetiis: apud Antonium Gardanum, 1568. — [mod. ed.] by Albert Dunning, 2 vols (American Institute of Musicology, 1974).
1570
	Costeley 1570 Musique de Guillaume Costeley, organiste ordinaire et vallet de chambre du tres chrestien et tres invincible roy de France Charles IX, 5 fasc. [Superius, Contratenor, Tenor, Bassus, Quinta pars] — list of chansons — Paris: Adrian le Roy et Robert Ballard, 1570 \| SCTBQ (Paris, Bibliothèque Sainte-Geneviève, Vm 60/1–5 Rés) — T \| B (Paris: Bibl. Nationale) — Paris: Adrian le Roy et Robert Ballard, ²1579 \| or TBQ (Orléans, Médiathèque, Rés. C 3462/3) — C \| B (Paris, Bibl. Nationale) — ed. Henry Expert, 3 vols (Les Maitres musiciens de la Renaissance française, 3, 18, 19; Paris: Alphonse Leduc, 1896-1904).
	Scotto 1570 Prima stella de madrigali a cinque voci, 5 parts Venezia: G. Scotto, 1570 [Rism 157016] (London, British Library, K.3.g.12)
	Vicentino 1570 Nicola Vicentino, [Il primo libro di madrigali a quattro voci, ed. ? Di Villa] (Milano: Paolo Gottardo Pontio, 1570) Lost, but mentioned in a ms. note by Bottrigari on p. 61v of his copy of Vicentino 1555 (reference to this note in Gallagher 2010) — In Vicentino 1570 si trovano i madrigali Stiamo Amore a vedere (cfr Melone secondo, p. 4 e Sigonio 1571, p. 33) e Ecco che’n voi (Melone secondo, p. 7, e Sigonio, p. 34) — Cfr anche Barblan 1974.
	Sigonio 1571 Gandolfo Sigonio, Discorso intorno a’ madrigali et a’ libri dell’Antica musica ridutta alla moderna prattica di D. Nicola Vicentino [1571] — in Bottrigari 1602: 32-39 — [Engl. trans.] in Maniates 1992 In merito alla datazione: la frase a p. 32 («Non so quale sia stato l’inventore di porre a quelle due operette stampate ultimamente a 4 voci quello titolo di ‘Arcimusico’») pone il Discorso dopo il 1571 (le due «operette» essendo Vicentino 1570 e Vicentino 1571). D’altra parte deve essere precedente al 22.i.1572, data di una sua lettera autografa (F-Pn, Italien 1110, cc. 1-4) indirizzata allo stesso Annibale Meloni in cui si controbattono le sue Considerazioni (= Melone secondo).
	Vicentino 1571 Nicola Vicentino, [Secondo libro dell’antica musica ridotta alla moderna pratica, a quattro voci, ed. ? de Negri] (Milano: Paolo Gottardo Pontio, 1571). Lost, see Vicentino 1570 — In Vicentino 1571 si trovano i madrigali L’asprezza e crudeltà (cfr Melone secondo, p. 7 e Sigonio 1571, p. 34-35) e ’L vidi in terra (Melone secondo, p. 7-8, e Sigonio, p. 35)
	Vicentino 1571/a Nicola Vicentino, [Le vergini, mottetti e inni, a quattro voci. Libro terzo, ed. Ottavio Bariola] (Milano: Paolo Gottardo Pontio, 1571). Lost, see Vicentino 1570 — Il curatore è detto da Bottrigari «Bariolo \| Organista del Domo di Milano» (cfr p. 61v)
	Vicentino 1571/b Archimusici theorici et practici et novae harmoniae inventoris Nicolae Vicentini, Moteta cum quinque vocibus. Liber quartus, 5 parti: SATB5 (Milano: Paolo Gottardo Pontio, 1571). — info (Rism: il solo ‘quinto’ a Piacenza) — [mod. ed.] in Kaufmann 1963: 141-154. Il primo mottetto Benedictus Deus / Quoniam sicut è parzialmente copiato nel ms. di Modena, Mus. C.313 (solo SAB5, manca T) — Il solo ‘quinto’ del n. 12 di Ave virginum gemma Catherina è a Valladolid, Catedral, E-V 17, cc. 115v-116r (copiato da Piacenza?)
	Zarlino 1571 Gioseffo Zarlino, Dimostrationi harmoniche ... nelle quali realmente si trattano le cose della musica et si risolvono molti dubii d’importanza — In Venetia: per Francesco dei Franceschi Senese, 1571. — [repr.] in Zarlino 1589, vol. 2. — [repr.] in Zarlino 1602, vol. 2. — [on line ed.] in TMI
	Mellange 1572 Mellange de chansons tant des vieux autheurs que des modernes, a cinq, six, sept, et huict parties, 6 parti: SATB56 (Paris: Le Roy et Ballard, 1572). — info (Rism) — copie: Paris, RES VMD-87/1 (AB) \| Paris, RES VM7-660 (S) \| Uppsala (ATB56) \| Madrid (SATB5) \| Bruxelles (B) — [mod. ed.] LeRoy & Ballard’s 1572 Mellange de chansons, ed. Charles Jacobs (University Park: Pennsylvania State University Press, 1982). Contiene il madrigale di Vicentino, Passa la nave mia / Pioggia di lagrimar, ed. mod. in Kaufmann 1963: 125-132.
	Vicentino 1572 Madrigali a cinque voci dell’arcimusico don Nicola Vicentino pratico et theorico, et inventore delle nuove armonie, nuovamente posti in luce da Ottavio Resino suo discepolo. Libro quinto (Milano, Paolo Gottardo Pontio, 1572). — copie: Modena (SATB5) \| Piacenza (5) — [mod. ed.] in Kaufmann 1963: pp. 77-122. n. 7 (L’aura che ’l verde lauro et l’aureo crine), ed. Allen Garvin (2015) — [record.] Lala Höhö (2010) \| Las Huelgas (2013) \| Las Huelgas (2016) \|
	Bertrand 1576 Anthoine de Bertrand, Les Amours de P. de Ronsard mises en musique à quatre parties [Superius, Contra, Tenor, Bassus] — [only book I] Paris: A. le Roy et R. Ballard, 1576 [S incomplete, C missing] \| T \| B (Paris, Bibl. Nationale) \| list of 35 songs — [2nd ed. book I + 1st ed. books II-III] Paris: A. le Roy et R. Ballard, 1578 [complete in F-Pn] \| list of 29 songs (book II) \| list of 25 songs (book III) — [repr. books I-III] Paris: A. le Roy et R. Ballard, 1587 [only SC] \| S (Blois, Bibliothèque Municipale, LI 64) — [mod. ed. book I] by Henry Expert, 2 vols [nn. 1-19, 20-35] (Monuments de la Musique Française au temps de la Renaissance, 4-5; Paris: Senart, 1926). — [mod. ed. books II-III] by Henry Expert, 2 vols (Monuments de la Musique Française au temps de la Renaissance, 6-7; Paris: Senart, 1927). — [repr. 1926] New York: Broude, 1952 (?). [dig. ed. book II] by Daniel Van Gilst (2017).
	Romano 1577 Alessandro Romano, Le Sirene ... et Secondo libro de suoi madrigali a cinque voci. Nuovamente posto in luce, 5 parts (Vineggia: Herede di G. Scotto, 1577).
	Salinas 1577 Franciscus Salinas, De Musica libri septem: in quibus eius doctinae veritas tam quae ad harmoniam, quam quae ad rhythmun pertinet, iuxta sensus ac rationis iundicium ostenditur et demonstratur: cum duplici indice capitum et rerum Salmanticae: excudebat Mathias Gastius, 1577. — Salmanticae: excudebant haeredes Cornelij Bonardi, 1592. — [repr.] Kassel und Basel : Bärenreiter, 1958. — [Engl. trans.] Daniels 1962 — [Sp. trans.] Siete libros sobre la musica, ed. Ismael Fernandez de la Cuesta (Madrid: Alpuerto, 1983). — [repr.] Salamanca: Ediciones Universidad de Salamanca, 2013.
	Bertrand 1578 Anthoine de Bertrand, Second livre des amours de P. de Ronsard mis en musique à quatre parties \| Troisiesme livre de chansons mis en musique à quatre parties (Paris: A. le Roy et R. Ballard). — Books II and III of Bertrand 1576
1580
	Lomazzo 1584 Giovanni Paolo Lomazzo, Trattato dell’arte de la pittura ... diviso in sette libri, ne’ quali si contiene tutta la theorica et la prattica d’essa pittura In Milano: per Paolo Gottardo Pontio, stampatore regio, a instantia di Pietro Tini, 1584 \| (alter) Ibidem, 1585. 1 \| 2 \| 3 \| [ed. mod.] 3 vols (Roma: Saverio Del Monte, 1844). — [repr. 1584] Hildesheim: Olms, 1968.
	Patrizi 1586 Della poetica di Francesco Patrici, la Deca istoriale, nella quale, con dilettevole antica novità, oltre a’ poeti e i lor poemi innumerabili che vi si contano, si fan palesi tutte le cose compagne e seguaci dell’antiche pesie (In Ferrara: per Vittorio Baldini, 1586). p. *3v] Nella dedica a Lucrezia d’Este si ricorda l’importanza della musica a Ferrara e il ruolo di Vicentino
	Bugati 1587 Gasparo Bugati, L’aggiunta dell’Historia universale et delle cose di Milano (Milano, Francesco ed eredi di Simon Tini, 1587).
	Rodio 1587 Rocco Rodio, Canto di Rocco Rodio: Il secondo libro di madrigali a quattro voci. Nuovamente posti in luce (Vinegia: ad instantia di Scipione Rizzo. Si vendono in Napoli all’insegna del Giesu, 1587).
	Tyard 1587 Pontus de Tyard, Les Discours philosophiques Paris: Abel L’Angelier, 1587. — [mod. ed.] ed. Cathy M. Yandell (Geneva: Droz, 1980). [online ed.] in TFM
	Paolini 1589 Fabio Paolini, Hebdomades, siue Septem de septenario libri, habiti in Vranicorum academia in vnius Vergilij versus explicatione (Venetiis: apud Franciscum Franciscium Senensem, 1589). Cfr McDonald 2012
	Zarlino 1589 Gioseffo Zarlino, De tutte l’opere del r. m. Gioseffo Zarlino da Chioggia, maestro di cappella della Serenissima Signoria di Venetia, ch’ei scrisse in buona lingua italiana, già separatamente poste in luce, hora di nuovo corrette, accresciute, & migliorate, insieme ristampate, 4 vols (Venezia: Francesco Sanese, 1588-1589). 1. Istituzioni harmoniche nella versione (ed. 1573) 2. Dimostrazioni harmoniche — (alter) 3. Sopplimenti musicali (new ed. 1588) — (alter) 4. Trattato della patientia — Discorso del vero anno et giorno della morte di Christo — Origine dei reverndi padri Cappuccini — Risolutioni d’alcune dimande fatte intorno la correttione del calendario di Giulio Cesare. digital ed.
1590
	V. Galilei 1591 Vincenzo Galilei, Discorso intorno all’uso dell’enharmonio et di chi fusse autore del cromatico [1591] ms. in Firenze, Bibl. naz. centrale, Fondo galileiano, Gal. 3, cc. 3-34. — [mod. ed.] in Rempp 1980: 163-180.
	Bottrigari 1594 [Ercole Bottrigari], Il desiderio, overo, De’ concerti di varii strumenti musicali, dialogo di Alemanno Benelli nel quale anco si ragiona della participatione di essi stromenti et di molte altre cose pertinenti alla musica In Venetia: appresso Ricciardo Amadino, 1594. [come opera di Bottrigari] In Bologna: appresso Gioambattista Bellagamba (tipi Amadino), 1599. — [come opera di Annibale Meloni] ed. Giovanni Maria Artusi (In Milano: appresso li Stampatori Archiepiscopali, 1601) \| info/1 \| info/2 — [repr. 1599] Berlin: Breslauer, 1924. — Engl. trans.] by Carol MacClintock (Roma: American Institute of musicology, 1962). — [repr. 1594] Bologna: Forni, 1969. [digital] ed. Frans Wiering, TMI 2003.
1600
	Bottrigari 1602 Ercole Bottrigari, Il Melone: Discorso armonico ... et Il Melone secondo: Considerationi musicali ... sopra un discorso di M. Gandolfo Sigonio intorno a’ madrigali et a’ libri dell’Antica musica ridutta alla moderna prattica di D. Nicola Vicentino, e nel fine esso discorso del Sigonio Ferrara: Vittorio Baldini, 1602. — [repr.] Bologna: Forni, 1969.
	Zarlino 1602 Gioseffo Zarlino, Istitutioni et dimostrazioni di musica, divise in quattro parti e cinque ragionamenti, dove si dichiarano assai luoghi di molti famosissimi scrittori di questa professione e si discorre sopra tutti i dubbi d’importanza che possono occorrer e in cotal materia, 2 vols (Venetia: Gio Antonio e Giacomo de Franceschi, 1602)
	Artusi 1603 Giovanni Maria Artusi, L’Artusi, overo Delle imperfettioni della moderna musica: Ragionamenti dui, ne’ quali si ragiona di molte cose vtili et necessarie alli moderni compositori, 2 vols 1 \| 2 \| In Venetia: appresso Giacomo Vincenti, 1600-1603). — Bologna: Forni, 1968, ²2000.
1630
	Doni 1635 Giovanni Battista Doni, Compendio del trattato de’ generi e de’ modi della musica ... Con un discorso sopra la perfettione de’ concenti, et un saggio a due voci di mutationi di genere e di tuono, in tre maniere d’intavolatura, e d’un principio di madrigale de principe, ridotto nella medesima intavolatura In Roma: per Andrea Fei, 1635. Annotazioni sopra il compendio de’ generi e de’ modi della musica ... Dove si dichiarano i luoghi più oscuri, e le massime piu nuove et importanti si provano con ragioni e testimonianze evidenti d’autori classici. Con due trattati l’uno sopra i tuoni e modi veri, l’altro sopra i tuoni o armonie degl’antichi. Et sette discorsi sopra le materie piu principali della musica, o concernenti alcuni instrumenti nuovi praticati dall’Autore (In Roma: nella stamperia d’Andrea Fei, 1640) p. 6] «... acciò si conosca che questo suo cromatico ed enarmonico bastardo ha fondamenti molto deboli, e che chiunque ha professato imitarlo, come ultimamente il signor Scipione Stella a Napoli (peritissimo compositore che poi si fece e morì Teatino), ha pestato, come si dice, l’acqua nel mortaio.»
1640
	Doni 1647 Giovanni Battista Doni, De praestantia musicae veteris libri tres totidem dialogis comprehensi in quibus vetus ac recens musica, cum singulis earum partibus, accurate inter se conferuntur. Adiecto ad finem onomastico selectorum vocabulorum ... Florentiae: typis Amatoris Massae Foroliviensis, 1647 \| (alter) — [repr.] Hildesheim: Olms, 1986.
1650
	Kircher 1650 Athanasius Kircher, Musurgia universalis, sive Ars magna consoni et dissoni in x libros digesta, qua universa sonorum doctrina, et philosophia, musicaeque tam theoricae, quam practicae scientia, summa varietate traditur; admirandae consoni, et dissoni in mundo, adeoque universa natura vires effectusque, vti noua, ita peregrina variorum speciminum exhibitione ad singulares usus, tum in omnipoene facultate, tum potissimun in philologia, mathematica, physica, mechanica, medicina, politica, metaphysica, theologia, speriuntur et demonstrantur ..., 2 vols [i] Romae: ex typographia haeredum Francisci Corbelletti, anno iubilaei 1650. [ii] Romae: typis Ludovici Grignani, anno iubilaei 1650. [Ger. tr. abr.] Kircherus jesuita germanuus Germaniae redonatus: sive artis magnae de consono & dissono ars minor; das ist, Philosophischer Extract und Auszug aus dess Welt-berümten teutschen Jesuitens Athanasii Kircheri von Fulda Musurgia universali ... ausgezogen und verfertiget ... von Andrea Hirschen ... (Schw. Hall: Gedruckt bei H.R. Laidigen, 1662). — [Eng. tr. book 8 (musical instruments)] Athanasius Kircher, Musurgia Universalis (Rome, 1650): The section on musical instruments, trans. Frederick Baron Crane, thesis (University of Iowa Libraries, 1956). — [repr. 1650] ed. Ulf Scharlau (Hildesheim: Olms, 1970, ²1999). — [repr. 1662] ed. Melanie Wald (Kassel: Bärenreiter, 1988, ²2006). — [Eng. tr. book 7] in The perfect musician (Krakow: Musica Iagellonica, 1995). — [repr. 1650] 3 vols, ed. Anton F.W. Sommer (Editiones neolatinae, 123-124, 181; Wien: Im Selbstverlag, 2006). i.637] Vicentino è ricordato come scopritore del genere enarmonico, affermazione contestata da Hawkins 1776 (cfr i.125)
1660
	L. Rossi 1666 Lemme Rossi, Sistema musico, ouero musica speculatiua doue si spiegano i più celebri sistemi di tutti i tre generi (Perugia: nella stampa episcopale, per Angelo Laurenzi, 1666). p. 85] Descrizione dell’archicembalo
1750
	Zeno 1753 Giusto Fontanini, Biblioteca dell’eloquenza italiana di monsignore Giusto Fontanini ... con le annotazioni del signor Apostolo Zeno istorico e poeta cesareo, 2 vols \| \| Venezia: presso Giambatista Pasquali, 1753 \| \| Parma: per li fratelli Gozzi a spese di Luigi Mussi, 1803-04 ii.416] Nota di Zeno su Vicentino
1760
	Gori-Doni 1763 Giovanni Battista Doni, Lyra Barberina Amphichordos. Accedunt eiusdem opera, pleraque nondum edita, ad veterem musicam illustrandam pertinentia De’ trattati di musica ... ne’ quali si esamina e dimostra la forza e l’ordine della musica antica e per qual via ridur si possa alla pristina efficacia la moderna ... Aggiuntoui un lessico delle voci musiche e l’indice generale per opera e studio del P. maestro Gio. Batista Martini, ed. Anton Francesco Gori, intr. Giovanni Battista Passeri — 2 vols, Florentiae: typis Caesareis, 1763. — [repr.] Bologna: Forni, 1974. — [repr.] “commentary and iconographical study ... with critical notes”, ed. Claude V. Palisca (Bologna: Amis, 1981).
1770
	Hawkins 1776 John Hawkins, A general history of the science and practice of music, 5 vols \| \| \| \| \| London: Payne, 1776. \| [repr.] 2 vols, London: J. A. Novello, 1853. Supplementary volume of portraits (London: J. A. Novello, 1853). \| [repr. 1853] “with the author’s posthumous notes” 2 vols, London: J. A. Novello, ²1875. — [repr. 1853] 2 vols, ed. Charles Cudworth (New York: Dover, 1963). — [repr. 1875] 2 vols, Graz: Akad. Druck- u. Verl., 1969. — [repr. 1776] 5 vols, Cambridge: University Press, 2011.
	Arteaga 1778 Esteban de Arteaga, Le rivoluzioni del teatro musicale italiano dalla sua origine fino al presente, 3 vols 1 \| 2 \| 3 \| Bologna: per la stamperia di Carlo Trenti all’insegna di Sant’Antonio, 1783-1788 — [repr.] Bologna: Forni, 1969. Riferimenti a Vicentino alle pp. 174-75, 184 e 266.
1780
	Martini 1781 Giovanni Battista Martini, Storia della musica, 3 vols \| \| \| Bologna: Lelio della Volpe, 1757-1770-1781. — [repr.] ed. Othmar Wessely, Graz: Akademische Druck und Verlagsanstalt, 1967.
	Tiraboschi 1782 Girolamo Tiraboschi, Storia della letteratura italiana (Modena 1772-82; 2^nd ed. 1787-94) — editions in Trovatore amante spia, p. 87 VII, lib. II/ii/62 (p. 450 della i ed. e p. 571 della ii ed.)] Riferimento a Vicentino sulla scorta di Arteaga 1778 e Doni 1635
1820
	Lichtenthal 1826 Peter (Pietro) Lichtenthal, Dizionario e bibliografia della musica, 4 vols \| \| \| \| Milano: Antonio Fontana, 1826, ²1836. — [Fr. trans.] Dictionnaire de musique ... traduit et augmenté par Dominique Mondo (Paris: Troupenas, 1839). — [repr.] Bologna: Forni, 1970. iv.65, 276] Rif. a Vicentino
	Baini 1828 Giuseppe Baini, Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina cappellano cantore ... detto il principe della musica, 2 vols \| \| Roma : dalla Societa Tipografica, 1828 — [Ger. trans.] Ueber das Leben und die Werke des G. Pierluigi da Palestrina: genannt der Furst der Musik ... verfasst und mit historisch-kritischen Zusatzen begleitet von Franz Sales Kandler (Leipzig : von Breitkopf und Hartel, 1834). — [repr. 1828] Hildesheim: G. Olms, 1966. i.342-47 (nota 424)] Su Vicentino
1830
	Fétis 1830 Edouard Louis François Fétis, La musique mise à la portée de tout le monde: exposé succinct de tout ce qui est nécessaire pour juger de cet art, et pour en parler sans l’avoir étudié — Paris: Alexandre Mesnier, 1830 Curiosites historiques de la musique, complément nécessaire de La musique mise a la portée de tout le monde (Paris, Janet et Cotelle, 1830) [2nd ed.] «augmentée de plusieurs chapitres et suivie d’un dictionnaire des termes de musiques et d’une bibliographie de la musique» (Paris: Paulin, 1834). — [repr. 1834] Paris: Paulin, 1836 — [repr. 1834] Bruxelles: Société belge de librairie, 1839 [3rd ed.] «revue, corrigee, augmentee» (Paris: Brandus, 1847). — [It. trans.] in Predari 1858
1850
	Catelani 1851 Angelo Catelani, ”Nicola Vicentino”, Gazzetta musicale di Milano, 9/44-46 (1851). 44 (2 novembre): 201-292 \| 45 (9 novembre): 205-206 \| 46 (16 novembre): 209-210.
	Predari 1858 La musica accomodata alla intelligenza di tutti di F. G. Fétis. Con un saggio storico, un dizionario biografico ed un vocabolario tecnico della musica antica e moderna del traduttore, ed. Eriberto Predari, 2 vols (Torino: Utet, 1858). \| trad. e aggiornamento di Fétis 1830
1860
	La Fage 1864 Juste Adrien Lenoir de La Fage, Essais de diphthérographie musicale ou notices, descriptions, analyses, extraits et reproduction de manuscrits relatifs à la pratique, à la théorie et à l’histoire de la musique 1 \| 2 \| 2 vols, Paris: O. Legouix, 1864. — [repr.] Amsterdam: F.A.M. Knuf, 1964.
1870
	Tucher 1873 Gottlieb von Tucher, “Zur Musikpraxis und Theorie des 16. Jahrhunderts”, Allgemeine Musikalische Zeitung, 1870–73 — 1870: V/19 (11 May): 146–47 \| 20 (18 May): 154–56 — 1871: VI/9 (1 March): 129–33 \| 10 (8 March): 148–51 \| 11 (15 March): 166–69 \| 12 (22 March): 183–86 \| 13 (29 March): 196–99 \| 14 (5 April): 218–20 \| 15 (12 April): 230–34 \| 16 (19 April): 245–47 \| 17 (26 April): 262–65 \| 24 (14 June): 369–74 \| 25 (21 June): 385–90 \| 26 (28 June): 401–5 [plus 4pp appendix of music following col. 416] \| 27 (5 July): 417–21 \| 28 (12 July): 433–38 — 1872: VII/15 (10 April): 233–36 \| 16 (17 April): 249–54 \| 17 (24 April): 265–69 \| 18 (1 May): 285–88 \| 19 (8 May): 300–4 \| 20 (5 May): 316–19 \| 22 (29 May): 350–53 \| 23 (5 June): 367–69 \| 26 (26 June): 414–16 \| 27 (3 July): 430–34 \| 28 (10 July): 445–48 — 1873: VIII/1 (1 January): 1–6 \| 2 (8 January): 17–21 \| 3 (15 January): 33–37 \| 4 (22 January): 49–54 \| 5 (29 January): 65–69 \| 6 (5 February): 81–84 \| 9 (26 February): 129–33 \| 11 (12 March): 161–65 \| 12 (19 March): 177–82 \| 13 (26 March): 193–96 \| 14 (2 April): 209–12 \| 31 (30 July): 481–84 \| 32 (6 August): 497–502 \| 33 (13 August): 513–16 \| 34 (20 August): 529–33 — [repr. 1866–82] Leipziger Allgemeine Musikalische Zeitung (Amsterdam: Frits Knuf, 1969]
	Ambros 1878 August Wilhelm Ambros, Geschichte der Musik: mit zahlreichen Notenbeispielen und Musikbeilagen 1 \| 2 \| 3 \| 4 \| 4 vols, Breslau: F. E. C. Leuckart, 1862 [i], 1864 [ii], 1868 [iii], Leizpig 1878 [iv, ed. Gustav Nottebohm] 1 \| 2 \| 3 \| 4 \| 5 \| [2nd ed.] 5 vols, Leipzig: Leuckart, 1880-1882 \| (5 alter, repr. 1889). i (1880): reissue, with errors in the 1862 list of errata corrected — ii (1880): rev. & enlarg., ed. Otto Kade — iii (1881): rev. & enlarg., ed. Otto Kade — iv (1881): reissue with rev. list of errata — v (1882): ed. Otto Kade 1 \| 2 \| 3 \| 4 \| 5 \| [3rd ed.] ibidem, 1887 [i], 1891 [ii], 1893 [iii], 1909 [iv], 1911 [v]. i (1891): rev. & enlarg. ed. Berta von Sokolowsky — ii (1891): rev. & enlarg. ed. Hugo Riemann — iii (1893): reissue of 2nd ed. with additional material, ed. Otto and Reinhard Kade — iv: 1909: rev. & enlarg. ed. Hugo Leichtentritt — v (1911): reissue of 2nd ed. — [repr. 3rd ed.] Hildesheim: Olms, 1968.
	Morsolin 1878 Bernardo Morsolin, Giangiorgio Trissino: Monografia d’un gentiluomo letterato nel secolo XVI Vicenza: tip. Burato, 1878. [2nd ed.] Firenze: successori Le Monnier, 1894.
	Canal 1879 Pietro Canal, Della musica in Mantova: notizie tratte principalmente dall’Archivio Gonzaga \| \| \| in Memorie del R. Istituto veneto di scienze, lettere e arti, 21 (1879): 656-774. — Venezia: Tipografia di Giuseppe Antonelli, 1881. [repr. 1881] Bologna: Forni, 1977. — [repr. 1881] Geneve: Minkoff, 1978. p. 731-31] Possiede una copia del madrigale Solo e pensoso (Petrarca, solo 3 parti: SMT), dal 1930 in I-Vnm, Canal 10651 [info], ed. mod. in Kaufmann 1963: 123-124.
1880
	Gasparella 1880 Girolamo Gasparella, “I musicisti vicentini”, Atti dell’Accademia Olimpica di Vicenza, 15 (1880): 117-169.
	Stumpf 1883 Carl Stumpf, Tonpsychologie, 2 vols \| \| Hirzel, Leipzig: 1883-1890. — [Engl. trans.] by Robin D. Rollinger, Tone Psychology: 1. The Sensation of Successive Single Tones (Routledge: London, 2019).
	Haberl 1884 Erstes und zweites Buch der vierstimmigen und drittes Buch (aus Sammelwerken) drei- his sechsstimmiger Madrigale von Pierluigi da Palestrina, ed. Franz Xaver Haberl (Pierluigi da Palestrina’s Werke, 28) Leipzig: Breitkopf & Hartel, 1884. — [repr.] Hants: Gregg International Publishers Limited, 1968.
	Schwartz 1886 Rudolf Schwartz, “Die Frottole im 15. Jahrhundert”, Vierteljahrsschrift für Musikwissenschaft, 2/3 (1886): 427–66
1890
	Kuhn 1897 Friedrich Kuhn, Beschreibendes Verzeichnis der alten Musikalien-Handschriften und Druckwerke-des koniglichen Gymnasiums zu Brieg (Berlin: Breiktopf und Härtel, 1897). p. 26] Descrive la collezione di musica del Ginnasio reale di Brieg (Brzeg), ora trasferita a Breslau (PL-WRu, Brieg. Musik. K.42). Una raccolta di mottetti (a 6 voci, fascicoli separati) di Orlando di Lasso (dall’ed. del 1567), a cui furono aggiunti altri brani. Fra questi il primo descritto è Heu mihi Domine / Anima mea di Vicentino (ed. mod. in Kaufmann 1963: 133-140), al cui nome è affiancato il motto della sua medaglia «Perfectae musicae divisionisque inventor».
	Riemann 1898 Hugo Riemann, Geschichte der Musiktheorie im IX.–XIX. Jahrhundert Leipzig: Max Hesse, 1898. — [2nd ed. (rev. & enlarg.)] Berlin: Max Hesse, 1921. — [repr. 1921] Hildesheim: Georg Olms, 1961, 2/1990. — [Engl. trans.] History of Music Theory: Books I and II: Polyphonic Theory to the Sixteenth Century, ed. Raymond H. Haggh (Lincoln: University of Nebraska Press, 1962, 2/1966). The 1966 edition is mainly a reissue, but with minor revisions and a small amount of new material added, though also omitting one page of material present in 1962. — [repr. 1966] New York: Da Capo, 1974.
1900
	Wolf 1900 Johannes Wolf, “Das Arciorgano des Nicola Vicentino (1561)”, Der deutsche Instrumentenbau: Zeitschrift für Instrumentenbau und Instrumentenkunde, I, n. 35 (1899-1900): 299–302.
	Seiffert 1901 Max Seiffert, “Jan Tollius”, Tijdschrift der Vereeniging voor Noord-Nederlands Muziekgeschiedenis, 7/1 (1901): 4–19.
	Kroyer 1902 Theodor Kroyer, Die Anfänge der Chromatik im italienischen Madrigal des 16. Jahrhunderts: ein Beitrag zur Geschichte des Madrigals — Leipzig: Breitkopf & Härtel, 1902. — [repr.] Farnborough: Gregg, 1968.
	Simonsfeld 1902 Henry Simonsfeld, “Mailänder Briefe zur bayerischen und allgemeinen Geschichte des 16. Jahrhundert”, in Abhandlungen der historischen Classe der Koniglich bayerischen Akademie der Wissenschaften, 22/2 (1902): 231-575. (alter) \| (pp. 236-264) Ettore Verga, [recensione], Archivio storico lombardo, ser. iii, vol. 18, 29 (1902): 172-178.
	Torchi 1907 Luigi Torchi, L’arte musicale in Italia: Composizioni dal sec. XIV al XVIII scelte, trascritte e rivedute, 7 vols (Milano: Ricordi, 1897-1907, repr. 1968). 1. Composizioni sacre e profane a più voci: secoli xiv, xv e xvi 2. Composizioni sacre e profane a più voci: secolo xvi 3. Composizioni per organo o cembalo: secoli xvi, xvi e xviii 4. Composizioni a piu voci: secolo xvii. Seguito del madrigale, il madrigale drammatico, la commedia armonica a soggetto, la favola pastorale, gli intermedii, la suonata a piu istrumenti 5. Composizioni ad una e più voci: secolo xvii. La musica sacra, l’oratorio, l’aria a una voce da camera e teatrale con basso continuo, l’aria di stile recitativo drammatico, la cantata profana a piu voci, l’aria a una voce con istrumenti 6. La musica scenica: secolo xvii. L’opera in musica, il poema sinfonico-drammatico in genere rappresentativo 7. Musica istrumentale: secolo xvii. La composizione a piu istrumenti, la canzone e le forme di danza come basi del componimento, la sonata di stile libero e di stile fugato
1910
	Chilesotti 1912 \| \| Oscar Chilesotti, “Di Nicola Vicentino e dei generi greci secondo Vincentio Galilei”, in Rivista musicale italiana, 19 (1912): 546-565.
	Ficker 1914 Rudolf von Ficker, “Beiträge zur Chromatik des 14. bis 16. Jahrhunderts”, Studien zur Musikwissenschaft. Beihefte der Denkmäler der Tonkunst in Österreich, 2 (1914): 5–33. [Jstor]
1920
	Heseltine 1922 Philip Heseltine, “Early Chromaticism in the Light of Modern Music”, The Chesterian, n.s. 25 (1922): 5–10.
	Jeppesen 1923 Knud Jeppesen, Palestrinastil med særligt Henblik paa Dissonansbehandlingen — Copenhagen: Levin & Munksgaard, 1923. — [Germ. trans.] Der Palestrinastil und die Dissonanz (Leipzig: Breitkopf & Härtel, 1925). — [Engl. trans.] The Style of Palestrina and the Dissonance, intr. by Edward J. Dent (London: Oxford University Press, 1927). — [2nd Engl. ed.] rev. & enlarged (London: Oxford University Press, 1946). — [repr. 1946] New York: Dover, 1970.
	Wallner 1925 Berta Antonia Wallner, “Urkunden zu den Musikbestrebungen Herzog Wilhelms Y. von Bazem”, Gedenkboek aangeboden aan Dr. D. F. Scheurleer op zijn 70sten verjaardag, ‘s-Gravenhage (L’Aia), 1925: 369-377.
	Kallenbach-Greller 1926 Lotte Kallenbach-Greller, “Die historischen Grundlagen der Vierteltöne”, Archiv für Musikwissenschaft, 8 (1926): 473–85.
1930
	Pratt 1930 Carroll C. Pratt, “The spatial character of high and low tones” — Journal of Experimental Psychology, 13/3 (1930): 278–85. [digital ed.]
	Benvenuti 1932 Andrea e Giovanni Gabrieli e la musica strumentale in San Marco, ed. Giacomo Benvenuti, 2 vols (Milano: Ricordi, 1931-1932). 1. Musiche strumentali e “per cantar et sonar” sino al 1590 \| 2. Canzoni e sonate a più strumenti di Giovanni Gabrieli contenute nelle “Sacrae Symphoniae” del 1597 [pref. by Gaetano Cesari]
	Zenck 1933 Hermann Zenck, “Nicola Vicentinos L’antica musica (1555)”, in Theodor Kroyer: Festschrift, ed. H. Zenck, Helmut Schultz, Walter Gerstenberg (Regensburg: Bosse, 1933): 86-101
	Dimmick-Gaylord 1934 F. L. Dimmick and E. Gaylord, “The dependence of auditory localization upon pitch” — Journal of Experimental Psychology, 17/4 (1934): 593–99. [digital ed.]
	Apel 1937 Willi Apel, Accidentien und Tonalität in den Musikdenkmälern des 15. und 16. Jahrhunderts — Strassburg, Leipzig, Zürich: Heitz, 1937. — [repr.] “enlarged second edition” (Baden-Baden: Valentin Koerner, 1972).
	Apel 1937/a Willi Apel, “Accidentals and the Modes in 15th- and 16th-Century Sources”, Bulletin of the American Musicological Society, 2 (1937): 6–7.
	P. Miller 1937 Poland H. Miller, The augmented sixth chords: their historical and theoretical origin and development, thesis [supervisor Allen Irvine McHose] (University of Rochester: Eastman School of music, 1937). — Sibley Music Eastman School Archives, Coll ML95.2 .M649 (info)
	Zenck 1937 Adrian Willaert, Sämtliche Werke. 1. Motetten zu 4 Stimmen, 1. und 2. Buch (1539 und 1545), ed. Hermann Zenck — Leipzig: Breitkopf & Härtel, 1937. — [repr.] Hildesheim: Olms, 1968.
	Casimiri 1939 Giovanni Pierluigi da Palestrina, Il libro primo di Madrigali a 4 voci secondo la ristampa del 1596 (1605?): con altri madrigali a 4 e 5 voci pubblicati in raccolte dal 1554 al 1561, ed. Raffaele Casimiri (Le opere complete di Giovanni Pierluigi da Palestrina, 2) — Roma: F.lli Scalera, 1939. — [repr.] Firenze: Biagiotti, 1968.
	P. Miller 1939/a Poland H. Miller, “The Augmented Sixth Chord: Its Historical and Theoretical Origin and Development to Era of Key-Feeling”, Journal of Musicology, 1/1 (1939): 14–40.
1940
	Malipiero 1942 Gian Francesco Malipiero, “Del contrappunto e della composizione” — La rassegna musicale, 15/6 (1942): 189–95. — [repr.] in La rassegna musicale: Antologia, ed. Luigi Pestalozza (Milano: Feltrinelli, 1966): 447–54. — [repr. (no music example)] in Massimo Bontempelli, Raffaele Cumar, Gian Francesco Malipiero (Milano: Bompiani, 1942): 181–86. — [repr. (no music)] Gian Francesco Malipiero, Il filo d’Arianna: Saggi e fantasie (Torino: Einaudi, 1966): 220–26. — [repr. (no music)] Roberto Zanetti, La musica italiana nel Novecento, 3 vols (Busto Arsizio: Bramante, 1985), iii: 1642–46.
	Mantese 1942 Giovanni Mantese, “La cappella musicale del Duomo di Vicenza”, Note d’archivio, 19/6 (1942): 169-181. pp. 169-171, 180-181.
	Jeppesen 1943 Die italienische Orgelmusik am Anfang des Cinquecento. Die “Recerchari. Mottetti, Canzoni, Libro Primo” des Marco Antonio (Cavazzoni) da Bologna (1523) in Verbindung mit einer Auswahl aus den “Frottole intabulate da sonare organi” des Andrea Antico da Montona (1517), ed. Knud Jeppesen — Kopenhagen: Munksgaard, 1943 — [rev. and enlarg. ed.] 2 vols [+ Band 2. Altitalienische Orgelmusik : Marco Antonio (Cavazzoni) da Bologna, Jacopo Fogliano, Julio (Segni) da Modena, Jaches (Brumel)] (Kobenhavn: Hansen, 1960).
	Lowinsky 1946 Edward E. Lowinsky, Secret chromatic art in the Netherlands motet (New York: Columbia University Press, 1946).
	Malipiero 1946 Gian Francesco Malipiero, L’armonioso labirinto: Da Zarlino a Padre Martini (1558–1774) — Milano: Rosa e Ballo, 1946. — [repr. (some illustrations omitted)] in Id., Il filo di Arianna: Saggi e fantasie (Torino: Einaudi, 1966): 3–74.
	McHose 1947 Allen Irvine McHose, The contrapuntal harmonic technique of the 18th century (Englewood Cliffs: Prentice-Hall, 1947).
	Einstein 1949 Alfred Einstein, The Italian madrigal [transl. by Alexander H. Krappe, Roger H. Sessions, Oliver Strunk], 3 vols [I, pp. 1-476 \| II, pp. 477-888 \| III, pp. 1-334] (Princeton: University Press, 1949, ²1971). [myLib]
1950
	Zenck 1950 Adriani Willaert Opera Omnia, ed. Hermannus Zenck et al. (Cmm 3, American institute of musicology) — info — 1: Motetta 4 vocum, liber primus, 1539 et 1545 (Roma 1950, 2/1997) — 2: Motetta 4 vocum, liber secundus, 1539 et 1545 (Roma 1950, 2/1997) — 3: Motetta 5 vocum, liber primus, 1539 et 1550 (Roma 1950, 2/1997) — 4: Motetta 6 vocum, 1542 (Roma 1952) — 5: Musica nova, 1559, motetta, ed. with Walter Gerstenberg (Roma 1957, 2/1998) — 7: Hymnorum musica, 1542, ed. with Walter Gerstenberg (Roma 1959, 2/1997) — 8: Psalmi vesperales, 1550, ed. with Walter Gerstenberg (Roma 1972) — 9: Liber quinque missarum 4. vocum, 1536, ed. with Helga Meier (Neuhausen 1987) — 13: Musica nova, 1559, madrigalia, ed. with Walter Gerstenberg (1966) — 14: Madrigali e canzoni villanesche, ed. with Walter Gerstenberg, Helga Meier (Roma 1977)
	Steinhardt 1951 Milton Steinhardt, Jacobus Vaet and his motets (East Lansing: Michigan State college Press, 1951).
	Palisca 1953 Claude Victor Palisca, The Beginnings of Baroque Music: Its Roots in Sixteenth Century Theory and Polemics, PhD (Cambridge ma: Harvard University, 1953).
	Lowinsky 1954 Edward E. Lowinsky, “Music in the Culture of the Renaissance” — Journal of the History of Ideas, 15/4 (1954): 509–53. — [repr.] in Renaissance Essays from the Journal of the History of Ideas, ed. Paul Oskar Kristeller, Philip P. Wiener (New York, Evanston (IL): Harper Torchbooks, 1968): 337–81. — [repr.] in Lowinsky 1989, 1: 19–39 (No. 3).
	Lesure-Thibault 1955 François Lesure, Geneviève Thibault, Bibliographie des éditions d’Adrian Le Roy et Robert Ballard: 1551-1598 (Paris: Société Française de Musicologie, 1955). — “Supplément”, in Revue de Musicologie, 40, 116 (1957): 166-172.
	Levy 1955 Kenneth Levy, “Costeley’s Chromatic Chanson”, Annales musicologiques, 3 (1955): 213–63.
	Sartori 1955 Claudio Sartori, “Une pratique des musiciens lombards (1582–1639), l’hommage des chansons instrumentales aux familles d’une ville”, in La musique instrumentale de la renaissance, ed. Jean Jacquot (Paris: Éditions du Centre National de la Recherche Scientifique, 1955): 305–12.
	Mantese 1956 Giovanni Mantese, Storia musicale vicentina (Vicenza: Banca cattolica del Veneto, 1956). pp. 27-31, 46-48.
	Lockwood 1957 Lewis H. Lockwood, “Vincenzo Ruffo and musical reform after the Council of Trent”, The Musical Quarterly, 43/3 (1957): 342-371 [Jstor]
	Andrews 1958 Herbert Kennedy Andrews, An Introduction to the Technique of Palestrina (London: Novello, 1958).
	Noske 1959 Frits Noske, “Joannes Tollius, ein niederländischer Meister des Frühbarock”, in Bericht über den siebenten internationalen musikwissenschaftlichen Kongress Köln 1958, conf. proceedings (Cologne, 23–28 June 1958), ed. Gerald Abraham, Suzanne Clercx-Lejeune, Hellmut Federhofer, Wilhelm Pfannkuch (Kassel: Bärenreiter, 1959): 203–7.
1960
	Kaufmann 1961 Henry W. Kaufmann, “The Motets of Nicola Vicentino”, Musica Disciplina, 15 (1961): 167-185. p. 182] Segnala il mottetto a 6 Infelix ego omnium / Ad te igitur (di cui sopravvivono 4 parti a Regensburg, Proske-Musikbibliothek, Butsch 223-33) sullo stesso tenor di Josquin, mottetto poi pubblicato in Kaufmann 1963: 155.
	Kaufmann 1961/a Henry W. Kaufmann, “Vicentino’s Arciorgano: An annotated translation”, Journal of Music Theory, 5/1 (1961): 32-53.
	Shaw 1961 Watkins Shaw, “A Textual Problem in Byrd: A Purely Accidental Matter”, The Musical Times, 102/1418 (1961): 230–32.
	Westrup 1961 Jack A. Westrup, “Personal View: 6. Bach, the Bible, and Byrd”, The Musical Times, 102/1419 (1961): 288–89.
	Daniels 1962 Arthur Michael Daniels, The De musica libri VII of Francisco de Salinas PhD, University of Southern California, 1962. — Ann Arbor: Umi, 1991
	Dahlhaus 1963 Carl Dahlhaus, ”Zu Costeleys chromatischer Chanson”, Die Musikforschung, 16/3 (1963): 253–265.
	Kaufmann 1963 Nicola Vicentino: Opera omnia, ed. Henry W. Kaufmann (Roma: American institute of musicology, 1963). (indice)
	Kaufmann 1963/a Henry W. Kaufmann, “Vicentino and the Greek Genera”, Journal of the American Musicological Society, 16 (1963): 325-346.
	Noble 1963 Jeremy Noble, “Clash and Consonance in the 16th Century”, The Musical Times, 104/1446–7 (1963); 555–57, 630–31.
	Gallo-Mantese 1964 Alberto Gallo, Giovanni Mantese, Ricerche sulle origini della cappella musicale del Duomo di Vicenza (Venezia-Roma: Istituto per la collaborazione culturale, 1964). pp. 48-49.
	Daniels 1965 Arthur Michael Daniels, “Microtonality and Mean-Tone Temperament in the Harmonic System of Francisco Salinas”, Journal of Music Theory, 9/1-2 (1965): 2–51, 234–80.
	Lockwood 1965 Lewis Lockwood, “A dispute on accidentals in sixteenth-century Rome, Analecta musicologica, 2 (1965): 24-40.
	Andrews 1966 Herbert Kennedy Andrews, The technique of Byrdʼs vocal polyphony — London: Oxford University Press, 1966. — [repr.] Westport ct, Greenwood, 1980.
	Brink 1966 Robert Brink, The archicembalo of Nicola Vicentino (PhD, Ohio State University, 1966).
	Kaufmann 1966 Henry W. Kaufmann, The Life and Works of Nicola Vicentino (1511-c. 1576), Roma: American Institute of Musicology, 1966.
	Lowinsky 1966 Edward E. Lowinsky, “Music of the Renaissance as Viewed by Renaissance Musicians” in O’Kelly 1966: 129–77. — [repr.] in Lowinsky 1989, 1: 87–105 (No. 6; slightly revised and enlarged from 1966 version).
	Malipiero 1966 Gian Francesco Malipiero, Il filo di Arianna: Saggi e fantasie (Torino: Einaudi, 1966).
	Malipiero 1966/a Gian Francesco Malipiero, “L’antica musica ridotta alla moderna prattica di Nicola Vicentino”, in Malipiero 1966: 87–88.
	O’Kelly 1966 The Renaissance Image of Man and the World, ed. Bernard O’Kelly (Columbus: Ohio State University Press, 1966).
	Plamenac 1966 Dragan Plamenac, “The Recently Discovered Complete Copy of A. Antico’s Frottole Intabulate (1517)” — in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue (New York: Norton, 1966): 683–92. — London: Oup, 1967. — [rev. 2nd ed.] New York: Pendragon, 1978.
	Lowinsky 1967 Edward E. Lowinsky, “The Musical Avant-Garde of the Renaissance or: The Peril and Profit of Foresight” — in Art, science and history in the Renaissance, ed. Charles S. Singleton (Baltimore: Johns Hopkins Press, 1967, ²1970): 113–62. — [repr. 1970] Ann Arbor: University Microfilms International, 1988. — in Lowinsky 1989, 2: 730–53 (n. 31).
	Nick 1967 Charles Nick, A stylistic analysis of the music of Nicola Vicentino, PhD, Bloomington: Indiana University, 1967.
	Jacobs 1968 Charles Jacobs, “Spanish Renaissance Discussion of Musica Ficta”, Proceedings of the American Philosophical Society, 112/4 (1968): 277–98 .
	Lockwood 1968 Lewis Lockwood, “A Sample Problem of Musica ficta: Willaert’s Pater noster”, in Studies in Music History: Essays for Oliver Strunk, ed. Harold Powers (Princeton: University Press, 1968): 161–82
	Reaney 1969 Gilbert Reaney, “Accidentals in Early Fifteenth Century Music”, in Renaissance-Muziek: 1400–1600. Donum Natalicium René Bernard Lenaerts, ed. Jozef Robijns [with Willem Elders, Roelof Lagas, Guido Persoons] (Leuven: Katholieke Universiteit, Seminarie voor Muziekwetenschap, 1969): 223–31.
1970
	Kämper 1970 Dietrich Kämper, Studien zur instrumentalen Ensemblemusik des 16. Jahrhunderts in Italien — Analecta Musicologica, 10 (1970) — [It. trans.] La musica strumentale nel Rinascimento: studi sulla musica strumentale d’assieme in Italia nel 16. secolo (Torino: Eri, 1976).
	Kaufmann 1970 Henry W. Kaufmann, “More on the tuning of the archicembalo”, Journal of the American Musicological Society, 23/1 (1970): 84.94.
	Bank 1972 J. Annie Bank, Tactus tempo and notation in mensural music from the 13th to the 17th century, Amsterdam: Annie Bank, 1972. pp. 7-27, 48-67
	Bent 1972 Margaret Bent, “Musica Recta and Musica Ficta” — Musica Disciplina, 26 (1972): 73-100. [Jstor] — [repr.] in Bent 2002.
	D’Accone 1973 Frank D’Accone, “Matteo Rampollini and his Petrarchan Canzoni Cycles”, Musica Disciplina, 27 (1973): 65–106.
	Harrán 1973 Don Harrán, “Vicentino and His Rules of Text Underlay”, The Musical Quarterly, 59/4 (1973): 620-632.
	Barblan 1974 Guglielmo Barblan, Agostina Zecca Laterza, “The Tarasconi codex in the library of the Milan conservatory”, The Musical Quarterly, 60/2 (1974): 195-221 Descriz. del ms. I-Mc, Tarasconi, cc. 32v-34r (facs. Owens 1986), che conserva di Vicentino il madrigale Era sereno il ciel chiara la luce / Ond’io ringrazio Amore (n. 47), copiato forse dal primo libro dei Madrigali a 4 (1570) o eventualmente dal secondo.
	Righini 1974 Pietro Righini, “Il pensiero musicale di Nicola Vicentino, l’archicembalo e la sua accordatura”, Rassegna di studi musicali, 1/3 (1974): 26-42.
	K. Berger 1975 Karol Beger, Theories of chromatic and enharmonic music in Italy in second half of the sixteenth century PhD, Yale University, 1975. — Ann Arbor, Umi, 1980.
	Blackwood 1975 Easley Blackwood, “The 31 Note Equal Tuning of Nicola Vicentino”, in Proceedings of the 50th Anniversary Meeting (Reston: National Association of Schools of Music, 1975): 85–106.
	Maniates 1975 Maria Rika Maniates, Vicentino’s ‘Incerta et occulta scientia’ Reexamined, Journal of the American Musicological Society, 28/2 (1975): 335-351.
	Tiella 1975 Marco Tiella, “The archicembalo of Nicola Vicentino”, The English harpsichord magazine and early keyboard instrument review, 1/5 (1975): 134-144.
	H. M. Brown 1976 Howard Mayer Brown, “Accidentals and Ornamentation in Sixteenth-Century Intabulations of Josquin’s Motets”, in Josquin des Prez (conference proceedings, New York City, 21–25 June 1971) ed. Edward Lowinsky [with Bonnie J. Blackburn (London: Oxford University Press, 1976): 475–522.
	H. M. Brown 1976/a Howard Mayer Brown, [review to: Jean-Michel Vaccaro, Oeuvres d’Albert de Rippe, III: Chansons (deuxième partie)], Music & Letters, 57/4 (1976): 441-443. [Jstor]
	Cattin 1976 Giulio Cattin, “Nel quarto centenario di Nicola Vicentino teorico e compositore”, Studi Musicali, 5 (1976): 29-57.
	Harrán 1976 Don Harrán, “New Evidence for Musica Ficta: The Cautionary Sign”, Journal of the American Musicological Society, 29/1 (1976): 77–98. [Jstor]
	Malipiero 1976 Gian Francesco Malipiero, “D. Nicola Vicentino teorico di musica”, in Vicenza illustrata, saggi e note di Alberto Broglio [et alii], ed. Neri Pozza Editore (Vicenza: Neri Pozza, 1976, ²1977, ³1979, ⁴1982): 285-286.
	Tiella 1976 Marco Tiella, “Settimane di studio sulla musica rinascimentale: esperienze con l’archicembalo ricostruito secondo l’originale cinquecentesco”, Nuova rivista musicale italiana, 10/1 (1976): 105-108.
	Alves Barbosa 1977 Maria Augusta Alves Barbosa, Vincentius Lusitanus. Ein Portugiesischer Komponist und Musiktheoretiker des 16. Jahrhunderts (Lisbon: Secretaria de Estado da Cultura, 1977).
	Haar 1977 James Haar, “False Relations and Chromaticism in Sixteenth-Century Music”, Journal of the American Musicological Society, 30/3 (1977): 391–418.
	Bray 1978 Roger Bray, “16th-Century Musica Ficta: the Importance of the Scribe”, Journal of the Plainsong & Mediæval Music Society, 1 (1978): 57–80
	Slim 1978 Colin H. Slim, A Gift of madrigals and motets (Chicago, London: University of Chicago Press, 1972-1978). — 1. Description and analysis — 2. Transcriptions — [supplement] Ten altus parts at Oscott College Sutton Coldfield (1978)
	D’Accone 1979 Frank D’Accone, “The Florentine Fra Mauros: A Dynasty of Musical Friars”, Musica Disciplina, 33 (1979): 77–137.
	Maniates 1979 Maria Rika Maniates, Mannerism in Italian music and culture, 1530-1630 (Manchester: Manchester U. P., 1979).
	Reaney 1979 Gilbert Reaney, “Transposition and ‘Key’ Signatures in Late Medieval Music”, in Musica Disciplina, 33 (1979): 27–41.
1980
	Bent 1980 Margaret Bent, Lewis Lockwood, Robert Donington, Stanley Boorman, “Musica ficta” — in Grove 1980, 12: 802-811 — [rev. 2nd ed.] by Margaret Bent, Alexander Silbiger, in Grove 2001, 17: 441-453.
	Benthem 1980 Jaap van Benthem, “Fortuna in focus: Concerning ‘Conflicting’ Progressions in Josquin’s Fortuna dun gran tempo”, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 30/1 (1980): 1–50.
	Caldwell 1980 John Caldwell, “Canzona” — in Grove 1980, 3: 742–45. — in Grove 2001, 5: 75–78.
	Chew 1980 Geoffrey Chew, “Mensural notation from 1500: Accidentals, key signatures” — in Notation 1980 [New Grove]: 395–99 (§III, 4.6). — [rev. 2nd ed.] by Geoffrey Chew, Richard Rastall, in Grove 2001, 18: 163-189.
	Drabkin 1980 William Drabkin, “Fourth” — in Grove 1980, 6: 736. — [rev. 2nd ed.] in Grove 2001, 9: 131.
	Grove 1980 The new Grove dictionary of music and musicians, ed. Stanley Sadie, new ed. — 20 vols (London: Macmillan, 1980). — [2nd ed] Grove 2001
	Notation 1980 “Notation” [several authors] — in Grove 1980, 13: 333–420. — in Grove 2001, 18: 73–189.
	Rempp 1980 Frieder Rempp, Die Kontrapunkttraktate Vincenzo Galileis (Köln: Arno Volk, 1980).
	Tiella 1980 Marco Tiella, “La ricostruzione dell’archicembalo di Nicola Vicentino (1555): Primi risultati della sperimentazione di uno strumento cromatico-enarmonico”, Strumenti e Musica, 1-2 (1980): 82-86, 206-208.
	Apel 1981 WIlli Apel, “Punto intenso contra remisso” — in Music East and West: Essays in Honor of Walter Kaufmann, ed. Thomas Noblitt (New York: Pendragon, 1981): 175–82 — [repr.] in Renaissance and Baroque Music: Composers, Musicology and Music Theory, ed. Thomas E. Binkley (Stuttgart: Franz Steiner, 1989): 142–49.
	Rippe 1981 Volker Rippe, “Nicola Vicentino - sein Tonsystem und seine Instrumente: Versuch einer Erklärung”, Die Musikforschung, 34/4 (1981): 393-413.
	Tiella 1981 Marco Tiella, “L’archicembalo”, Musica antica 1 (1981) \| [repr.] ibidem (1999): 6-11.
	Uberti 1981 Mauro Uberti, “Vocal techniques in Italy in the second half of the 16th century”, Early music, 9/4 (1981): 486-495.
	Agee 1982 Richard J. Agee, The privilege and venetian music printing in the sixteenth century, PhD (Princeton University, 1982).
	Dahlhaus 1982 Carl Dahlhaus, “Musikalischer Humanismus als Manierismus”, Die Musikforschung, 35/2 (1982): 122-129.
	Lindley 1982 Mark Lindley, ”Chromatic Systems (or Non-Systems) from Vicentino to Monteverdi” [review of Berger 1980], Early Music History, 2 (1982): 377-404.
	Lowinsky 1982 Edward E. Lowinsky, “Humanism in the Music of the Renaissance” — in Medieval and Renaissance Studies [9]: Proceedings of the Southeastern Institute of Medieval and Renaissance Studies: 1978, ed. Frank Tirro (Durham nc: Duke University Press, 1982): 87–220. — [repr.] in Music in the Culture of the Renaissance and Other Essays, ed. Bonnie J. Blackburn, 2 vols (Chicago: University of Chicago Press, 1989), 1: 154–218.
	Noblitt 1982 Thomas Noblitt, “Chromatic Cross-Relations and Editorial Musica ficta in Masses of Obrecht”, in Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 32/1-2 (1982): 30–44.
	P. Barbieri 1983 Patrizio Barbieri, “I temperamenti ciclici da Vicentino (1555) a Buliowski (1699): teoria e pratica archicembalistica”, L’organo, 21 (1983): 129-208. — [Engl. trans.] in Barbieri 2008/a
	Hammond 1983 Frederick Hammond, Girolamo Frescobaldi — Cambridge: Harvard university press, 1983. — [It. tans.] Palermo: L’epos, 2002. [dig. ed.] Girolamo Frescobaldi: An extended bibliography (2017-2010).
	Macey 1983 Patrick Macey, “Savonarola and The Sixteenth-Century Motet”, Journal of the American Musicological Society, 36/3 (1983): 422–52.
	Careri 1984 Enrico Careri, Le tecniche vocali del canto italiano d’arte tra il xvi e il xvii secolo”, Rivista musicale italiana, 18/3 (1984): 359-375.
	Maniates 1984 Maria Rika Maniates, “What’s in a word? Interpreting Vicentino’s text”, in Music and civilization: Essays in honor of Paul Henry Lang (New York: W.W. Norton, 1984): 444-456.
	Wood 1984 Lynn Wood, “The Colonna-Stella ‘sambuca lincea’, an enharmonic keyboard instrument”, Journal of the American Musical Instrument Society, 10 (1984): 5-21.
	Palisca 1985 Claude V. Palisca, Humanism in Italian Renaissance musical thought (New Haven: Yale University, 1985).
	Pressacco 1985 Gilberto Pressacco, “Nicola Vicentino: un suggestivo caso di omonimia”, Rassegna veneta di studi musicali, 1 (1985): 135-140.
	Bernstein 1986 Jane A. Bernstein, “The Burning Salamander: Assigning a Printer to Some Sixteenth- Century Music Prints”, Notes, 42/3 (1986): 483-501.
	Owens 1986 Milan, Biblioteca del Conservatorio di Musica Giuseppe Verdi, the Tarasconi Codex, ed. Jessie Ann Owens (New York: Garland, 1986). (intro + index)
	P. Barbieri 1987 Patrizio Barbieri, “La ‘Sambuca Lincea’ di Fabio Colonna e il ‘Tricembalo’ di Scipione Stella. Con notizie sugli strumenti enarmonici del Domenichino”. — in La musica a Napoli durante il Seicento, ed. Domenico Antonio D’Alessandro, Agostino Ziino (Roma: Torre d’Orfeo, 1987): 167-216. — [repr.] in Scipione Stella, Inni a cinque voci. Napoli 1610, ed. Flavio Colusso, Domenico Antonio D’Alessandro (Lucca: Lim, 2007, pp. lv-lxxvii, cxxxv-clviii. — [Engl. trans] in Barbieri 2008/a
	P. Barbieri 1987/a Patrizio Barbieri, “Il cembalo onnicordo di Francesco Nigetti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719)”, Rivista Italiana di Musicologia, 22 (1987): 34-113. — [Engl. trans] in Barbieri 2008/a
	Bertaggia 1987 Michele Bertaggia, “Prometeo-Conversation entre Luigi Nono et Massimo Cacciari”, in Luigi Nono: Festival d’automne: à Paris 1987, ed. Philippe Albèra, Revue Contrechamps. Numéro spécial, (Paris: Contrechamps, Paris, 1987): 131-146.
	Lindley 1987 Mark Lindley, “Stimmung und Temperatur”, in Hören, Messen und Rechnen in der frühen Neuzeit, ed. Frieder Zaminer (Geschichte der Musiktheorie, 6; Darmstadt: Wissenschaftliche Buchgesellschaft, 1987): 109-331.
	Macchini 1987 Alberto Macchini, Il Libro V di frottole edito da Ottaviano Petrucci (Venezia 1505), diss. (Università di Padova, 1987).
	Owens 1987 Hoste da Reggio: Primo libro de madrigali a quatro voci: Venice 1547, ed. Jessie Ann Owens (New York, London: Garland, 1987).
	Vaccaro 1988 Jean-Michel Vaccaro, “Les préfaces d’Anthoine de Bertrand”, Revue de Musicologie, 74/2: Les Musiciens De Ronsard (1988): 221-236. [Jstor]
	Zanoncelli 1988 Luisa Zanoncelli, “Vicentino, Nicola”, in Dizionario Enciclopedico Universale della Musica e dei Musicisti, 17 vols. (Torino: Utet, 1983–2004), Le biografie, 8 (1988): 225–26.
	Bernstein 1989 Guillaume Costeley: Selected Chansons, ed. Jane Bernstein (New York, London: Garland, 1989).
	Lowinsky 1989 Music in the Culture of the Renaissance and Other Essays, ed. Edward E. Lowinsky [introduction by Bonnie J. Blackburn, forewords by Howard Mayer Brown and Ellen T. Harris] (Chicago: The University of Chicago Press, 1989).
	Teo 1989 Kian-Seng Teo, Chromaticism in the English Madrigal, New York, London: Garland, 1989.
1990
	Boorman 1990 Stanley Boorman, “False relations and the cadence” — in Essays on Italian music in the Cinquecento, ed. Richard Charteris (Sydney: University of Sydney, 1990): 221-264. — [repr. in Id., Studies in the Printing, Publishing and Performance of Music in the 16th Century (Aldershot: Ashgate, 2005), no. X.
	Monson 1990 Craig Monson, “Elena Malvezzi’s Keyboard Manuscript: A New Sixteenth-Century Source”, Early Music History, 9 (1990): 73–128.
	Silbiger 1990 Nicola Vicentino: Four Enharmonic Madrigals, for four voices (Rome, 1555), ed. Alexander Silbiger (Utrecht: Diapason Press, 1990).
	Blackburn 1991 A correspondence of Renaissance musicians, ed. Bonnie J. Blackburn, Edward E. Lowinsky, Clement A. Miller (Oxford: Clarendon Press, 1991).
	Howell-Hultberg 1991 Thomas de Sancta Maria: The art of playing the fantasia \| Libro llamado el arte de tañer fantasía, ed. Almonte Howell, Warren E Hultberg (Pittsburgh: Latin American Literary Review Press, 1991).
	Ratte 1991 Franz Josef Ratte, Die Temperatur der Clavierinstrumente. Quellenstudien zu den theoretischen Grundlagen und praktischen Anwendungen von der Antike bis ins 17. Jahrhundert (Kassel: Bärenreiter, 1991).
	Charteris 1992 Domenico Maria Ferrabosco (1513-1574): Opera Omnia, ed. Richard Charteris (Cmm 102; American Institute of Musicology, 1992).
	Maniates 1992 Maria Rika Maniates, “Bottrigari versus Sigonio: On Vicentino and his ancient music adapted to modern practice”, in Musical humanism and its legacy: Essays in honor of Claude V. Palisca (Stuyvesant NY: Pendragon Press, 1992): 79-107.
	Toft 1992 Robert Toft, Aural Images of Lost Traditions: Sharps and Flats in the Sixteenth Century (Toronto: University of Toronto Press, 1992).
	D. Collins 1993 Denis Collins, “Fugue, canon, and double counterpoint in Nicole Vicentino’s L’antica musica (1555)”, in Music and the church (Dublin: Irish Academic Press, 1993): 276-301.
	Feneyrou 1993 Luigi Nono: Écrits, ed. Laurent Feneyrou — Paris: Christian Bourgois, 1993. — [enlarg. ed. + Cd] Geneva: Contrechamps, 2007.
	Maniates 1993 Maria Rika Maniates, “The cavalier Ercole Bottrigari and his brickbats: Prolegomena to the defense of Don Nicola Vicentino against Messer Gandolfo Sigonio”, in Music theory and the exploration of the past, Chicago: University of Chicago Press, 1993: 137-188.
	Maniates 1993/a Maria Rika Maniates, “Nicola Vicentino’s reconstruction of the ancient Greek genera”, Revista de musicología, 16/3 (1993): 1294-1314.
	Urquhart 1993 Peter Urquhart, “Cross-Relations by Franco-Flemish Composers after Josquin”, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 33/1 (1993): 3–41.
	Van der Meer 1993 John Henry van der Meer, Strumenti musicali europei del Museo civico medievale di Bologna, con Appendici dei fondi strumentali delle Collezioni comunali d’arte, del Museo Davia Bargellini e del Civico museo bibliografico musicale (Bologna: Nuova Alfa Editoriale, 1993). [myLib]
	Della Torre 1994 Stefano Della Torre, Richard Schofield, Pellegrino Tibaldi Architetto e S. Fedel di Milano. Invenzione e costruzione di una chiesa esemplare (Como: Nodo Libri 1994).
	Hermsdorf 1994 Dieter Hermsdorf, “Eine ungewöhnliche Clauselbildung in der weltlichen Musik des frühen 16. Jahrhunderts”, Musiktheorie, 9/2 (1994): 99–113.
	Otaola 1994 Paloma Otaola González, “Instrumento perfecto y sistemas armónicos microtonales en el siglo XVI: Bermudo, Vicentino y Salinas”, Anuario musical, 49 (1994): 127-157.
	Urquhart 1994 Peter Urquhart, “An Accidental Flat in Josquin’s Sine nomine Mass”, in From Ciconia to Sweelinck: Donum natalicium Willem Elders, ed. Albert Clement, Eric Jas (Amsterdam: Rodopi, 1994): 125–44.
	Campagnolo 1995 Stefano Campagnolo, “«Guastatori e stroppiatori della divina scientia della musica»: Ghiselin Danckerts ed i compositori della ‘nuova maniera’”, in Musicam in subtilitate scrutando. Contributi alla storia della teoria musicale, ed. Maria Teresa Rosa-Barezzani, Daniele Sabaino, Rodobaldo Tibaldi (Lucca: Lim, 1995): 193-242.
	Owens 1995 Domenico Maria Ferrabosco: Il primo libro de madrigali a quattro voci, ed. Jessie Ann Owens (New York, London: Garland, 1995).
	Schwind 1995 Elisabeth Schwind, “Eine ‘ungewöhnliche Clauselbildung?’ Einige Gedanken zum Verständnis der Musik des 15./16. Jahrhunderts”, in Musiktheorie, 10/2 (1995): 159–70.
	Buja 1996 Maureen Buja, Antonio Barrè and Music Printing in Mid-Sixteenth Century Rome (PhD, University of North Carolina at Chapel Hill, 1996).
	Maniates 1996 Nicola Vicentino: Ancient music adapted to modern practice [Vicentino 1555], ed. Claude V. Palisca; introduction and notes by Maria Rika Maniates (New Haven: Yale University Press, 1996). Maria Rilka Maniates, Introduction (pp. xi-lxiv). — [repr.] in Musical theory in the Renaissance (Farnham: Ashgate, 2013): 395-450.
	Wibberley 1996 Roger Wibberley, “Josquin’s Ave Maria: Musica Ficta versus Mode”, Music Theory Online, 2/5 (1996).
	Leoni 1997 Stefano A.E. Leoni, “Musicografia delle passioni: Dall’affetto alla retorica musicale nella trattatistica italiana e tedesca del primo Seicento”, in Relazioni musicali tra Italia e Germania nell’età barocca (Como: Amis, 1997): 5-41.
	Maniates 1997 Maria Rika Maniates, “Nicola Vicentino and the ancient Greek genera”, in Festschrift Walter Wiora zum 90. Geburtstag (Tutzing: Hans Schneider, 1997): 217-235.
	Newcomb 1997 Anthony Newcomb, “Unnotated Accidentals in the Music of the Post-Josquin Generation: Mainly on the Example of Gombert’s First Book of Motets for Four Voices”, in Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens, Anthony M. Cummings (Warren mi: Harmonie Park Press, 1997): 215–25.
	Niedermüller 1997 Peter Niedermüller, “La musica cromàtica ridotta alla pràtica vicentiniana: Genus, Kontrapunkt und musikalische Temperatur bei Nicola Vicentino”, Neues musikwissenschaftliches Jahrbuch, 6 (1997): 59-90.
	Urquhart 1997 Peter Urquhart, “Three Sample Problems of Editorial Accidentals in Chansons by Busnoys and Ockeghem”, in Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens, Anthony M. Cummings (Warren mi :Harmonie Park Press, 1997): 465–81.
	Bent 1998 Margaret Bent, “The Grammar of Early Music: Preconditions for Analysis”, in Tonal Structures in Early Music, ed. Cristle Collins Judd (New York, London: Garland, 1998): 15–59.
	Bernstein 1998 Jane A. Bernstein, Music printing in Renaissance Venice: The Scotto press: 1539-1572 (Oxford: University Press, 1998). #59] Descrizione di Vicentino 1546
	Bossuyt 1998 Ignace Bossuyt, “O socii durate: A musical correspondence from the iime of Philip II” Early Music, 26/3 (1998): 432-444. — [Dutch trans., slightly revised] “O socii durate: Antoine Perrenot de Granvelle en de Vlaamse polyfonist Adriaan Willaert (ca. 1490–1562). Nieuwe gegevens op basis van de in Madrid bewaarde correspondentie van Granvelle”, in Les Granvelle et les anciens Pays-Bas, ed. Krista De Jonge, Gustaaf Janssens (Leuven: University Press, 2000): 321–40.
	Macey 1998 Patrick Macey, Bonfire songs: Savonarola’s musical legacy (Oxford: Clarendon press, 1998).
	McKinney 1998 Timothy R. McKinney, “Hearing in the Sixth Sense”, The Musical Quarterly, 82/3-4 (1998): 517-536.
	Turrentine 1998 Herbert C. Turrentine, “The commemorative medal of the composer/theorist Nicola Vicentino and the question of its attribution”, Explorations in Renaissance Culture, 24 (1998): 37-52.
	Daolmi 1999 Davide Daolmi, Don Nicola Vicentino arcimusico in Milano: Il beneficio ecclesiastico quale risorsa economica prima e dopo il Concilio di Trento: Un caso emblematico (Lucca: LIM, 1999).
	Macey 1999 Savonarolan laude, motets, and anthems, ed. Patrick Macey (Madison: A-R Editions, 1999).
	Urquhart 1999 Peter Urquhart, “False Concords in Busnoys”, in Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, ed. Paula Higgins (Oxford: Clarendon, 1999): 361–87.
2000
	P. Barbieri 2001 Patrizio Barbieri, Lindoro Massimo Del Duca, “Late-Renaissance quarter-tone compositions (1555-1618): The performance of the ETS-31 with a DSP system”, Musical sounds from past millennia: Proceedings of the International Symposium on Musical Acoustics (Venezia: Fondazione Giorgio Cini, 2001): 189-192.
	Bent 2001 Margaret Bent, “On False Concords in Late Fifteenth-Century Music: Yet Another Look at Tinctoris”, in Ceulemans-Blackburn 2001: 65-118.
	Ceulemans-Blackburn 2001 Théorie et analyse musicales, 1450-1650. Actes du colloque Louvain-la-Neuve, 23-25 septembre 1999, ed. Anne-Emmanuelle Ceulemans, Bonnie J. Blackburn (Louvain-la-Neuve, Université Catholique de Louvain, Collège Erasme, 2001).
	De Benedictis 2001 Luigi Nono: Scritti e colloqui, ed. Angela Ida De Benedictis, Veniero Rizzardi (Milano: Ricordi; Lucca: Lim, 2001).
	Dumitrescu 2001 Theodor Dumitrescu, “Constructing a Canonic Pitch Spiral: The Case of Salve radix”, in Ceulemans-Blackburn 2001: 141-45, 163-64.
	Grove 2001 The new Grove dictionary of music and musicians, ed. Stanley Sadie, 2nd new ed. in 29 vols — London: Macmillan, 2001. — digital ed. updated: Oxford Music Online.
	Kendrick 2001 Henry W. Kaufmann, Robert L. Kendrick, “Vicentino Nicola”, in New Grove on line.
	McKinney 2001 Timothy R. McKinney, “Rhetorical functions of harmony and counterpoint in the theory and practice of Nicola Vicentino”, in Ceulemans-Blackburn 2001: 293-322.
	Niedermüller 2001 Peter Niedermüller, ”Contrapunto” und “effetto”: Studien zu den Madrigalen Carlo Gesualdos (Göttingen: Vandenhoeck & Ruprecht, 2001).
	Bent 2002 Margaret Bent, Counterpoint, composition, and musica ficta (New York, London: Routledge, 2002).
	Rasch 2002 Rudolf A. Rasch, “Why were enharmonic keyboards built? From Nicola Vicentino (1555) to Michael Bulyowsky (1699)”, Annuario svizzero di musicologia, 22 (2002): 35-93.
	Bent 2003 Margaret Bent, “Ciconia, Prosdocimus, and the Workings of Musical Grammar as Exemplified in O felix templum and O Padua”, in Johannes Ciconia: Musicien de la transition, ed. Philippe Vendrix (Turnhout: Brepols, 2003): 65–106.
	RISM A/I 2003 Répertoire international des sources musicales [Rism]: A.I. Einzeldrucke vor 1800, (Kassel: Bärenreiter, 1971-2003) — 1-9. A-Z [vol. 9: + Anhang 1: Drucke mit initialen; Anhang 2: Anonyme drucke] — 10. [unpublished] — 11-14. Addenda et corrigenda — 15: Register (1-9, 11-14) — Datenbank auf CD-ROM (2012)
	Tiella 2003 Marco Tiella, “Musical exerience gained through working with the archicembalo reconstruction of the chromatic-enharmonic instrument from N. Vicentino L’antica musica ridotta alla moderna prattica (Barre, Roma, 1555)”, in Early music: Context and ideas (Kraków: Uniwersytet Jagielloński, 2003): 393-402.
	Urquhart 2003 Peter Urquhart, “Forbidden Intervals in Josquin: Evidence from the Alamire Sources”, in The Burgundian-Habsburg Court Complex of Music Manuscripts (1500–1535) and the Workshop of Petrus Alamire, conference proceedings (Leuven, 25–28 November 1999) ed. Bruno Bouckaert and Eugeen Schreurs (Yearbook of the Alamire Foundation, 5; Leuven: Alamire Music Publishers, 2003): 233–45.
	Warren-Griffiths 2003 J. D. Warren and T. D. Griffiths, “Distinct Mechanisms for Processing Spatial Sequences and Pitch Sequences in the Human Auditory Brain”, The Journal of Neuroscience, 23/13 (2003): 5799–5804.
	Ciroldi 2004 Sergio Ciroldi, Giaches de Wert (Wert, Anversa 1535 ca. – Mantova 1596) nelle corti dei Gonzaga di Mantova, Novellara-Bagnolo e degli Estensi a Ferrara (Bollettino storico reggiano: Deputazione di storia patria per le antiche provincie modenesi. Sezione di Reggio Emilia, 37/123; Reggio Emilia 2004).
	Dumitrescu 2004 Theodor Dumitrescu, “The Solmization Status of Sharps in the 15th and 16th Centuries”, Studi Musicali, 33/2 (2004): 253-283.
	Hollingsworth 2004 Mary Hollingsworth, The cardinal’s hat: money, ambition, and everyday life in the court of a Borgia prince (Woodstock: Overlook Press; London: Profile books, 2004).
	Wibberley 2004 Roger Wibberley, “Syntonic Tuning: Creating a Model for Accurate Electronic Playback”, Music Theory Online, 10/1 (2004).
	Kirnbauer 2005 Martin Kirnbauer, “Guillaume Costeleys Chanson Seigneur Dieu, ta pitié s’estende dessus moy in Dritteltonstimmung”, in Unterbrochene Zeichen: Klaus Huber an der Hochschule für Musik der Musik-Akademie der Stadt Basel: Schriften, Gespräche, Dokumente, ed. Michael Kunkel (Saarbrücken: PFAU-Verlag, 2005): 77–98.
	Lewis 2005 Mary S. Lewis, Antonio Gardano, Venetian Music Printer (1538–1569) A Descriptive Bibliography and Historical Study, 3 vols (New York, London: Garland, 1988-2005) — 1. 1538–49 (1988) — 2. 1550–59 (1997) — 3. 1560–69 (2005).
	McKinney 2005 Timothy R. McKinney, “Point/counterpoint: Vicentino’s musical rebuttal to Lusitano”, Early music, 33/3 (2005): 393-411.
	Sabaino 2005 Daniele Sabaino, “«Gli diversi effetti, gli quali essa armonia suole produrre»: Ancora su teoria e prassi dell’ethos modale (per il tramite, questa volta, di alcuni testi petrarcheschi)”, in Petrarca in musica (Lucca: Lim, 2005): 155-202.
	Schmusch 2005 Rainer Schmusch, “Tempus/Tempo: Zur musikalischen Zeitvorstellung im 16. Jahrhundert--Nicola Vicentino, Cipriano de Rore und Girolamo dalla Casa”, in Mittelalter und Mittelalterrezeption: Festschrift für Wolf Frobenius (Hildesheim: Georg Olms, 2005): 102-144.
	Trachier 2005 Renaissance française: Traités, Méthodes, Préfaces, Ouvrages généraux, 4 vols, ed. Olivier Trachier (Courlay: Fuzeau, 2005).
	López-Peláez 2006 María Paz López-Peláez Casellas, “Sobre la capital iluminada ‘M’ que abre L’antica musica ridotta alla moderna practica de Nicola Vicentino”, Revista de musicología, 29/2 (2006): 421-431. [Jstor]
	Maffei 2006 [Anton Francesco Doni], Le nuove pitture del Doni fiorentino: libro primo ... Biblioteca apostolica Vaticana, ms. Patetta 364, ed. Sonia Maffei, Virgilio Bernardoni, Carlo Alberto Girotto (Napoli: La stanza delle scritture; Città del Vaticano: Biblioteca apostolica Vaticana, 2006).
	Niedermüller 2006 Peter Niedermüller, “Vicentino, Nicola”, in MGG on line (2006).
	Rusconi 2006 Elena Rusconi, Bonnie Kwan, Bruno L. Giordano, Carlo Umiltà, Brian Butterworth, “Spatial representation of pitch height: the SMARC effect”, Cognition. International Journal of Cognitive Science, 99/2 (2006): 113–29.
	Adams 2007 Kyle Adams, “Theories of chromaticism from the late sixteenth to the early eighteenth century”, Theoria, 14 (2007): 5-40.
	Cordes 2007 Manfred Cordes, Nicola Vicentinos Enharmonik: Musik mit 31 Tönen (Graz: Akademische Druck- und Verlagsanstalt, 2007).
	De Benedictis 2007 Luigi Nono: La nostalgia del futuro: Scritti scelti 1948–1986, ed. Angela Ida De Benedictis, Veniero Rizzardi — Milano: Il saggiatore, 2007. — [Engl. trans.] Nostalgia for the Future: Luigi Nono’s Selected Writings and Interviews (Oakland ca, University of California Press, 2018).
	Dumitrescu 2007 Theodor Dumitrescu, “Constructing a Canonic Pitch Spiral: The Case of Salve radix”, in Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, conference proceedings (Leuven, 4–6 October 2005) ed. Katelijne Schiltz, Bonnie J. Blackburn (Leuven: Peeters, 2007): 141–70.
	D’Accone 2007 Frank A. D’Accone, Music and Musicians in 16th-Century Florence (Aldershot: Ashgate, 2007).
	P. Barbieri 2008 Patrizio Barbieri, “Cembali a tasti spezzati: ‘cromatci’ oppure ‘enarmonici’?”, — Bollettino della Deputazione di Storia patria per l’Umbria, 105/2 (2008): 125-130 — in Arte organaria e musica per organo nell’età moderna. L’Umbria nel quadro europeo, ed. Erika Bellini (Perugia: Deputazione di Storia patria per l’Umbria, 2008): 125-130.
	P. Barbieri 2008/a Patrizio Barbieri, Enharmonic instruments and music 1470-1900: revised and translated studies [with Cd] (Latina: Il levante, 2008).
	Danuser 2008 Carl Dahlhaus: Gesammelte Schriften, ed. Hermann Danuser [with Hans-Joachim Hinrichsen, Tobias Plebuch, Burkhard Meischein] (Laaber: Laaber, 2000-2008). — 1-2. Allgemeine Theorie der Musik — 3: Alte Musik (von der Antike bis zum 18. Jahrhundert) — 4-7: 19. Jahrhundert — 8: 20. Jahrhundert — 9: Rezensionen — 10: Varia — 11: Schriftenverzeichnisse und Register
	Fanti-Castaldo 2008 Marco Fanti, Daniela Castaldo, “L’idea della musica”, in Monete sonanti: La cultura musicale nelle monete e nelle medaglie del Museo civico archeologico di Bologna (Ferrara: Edisai, 2008): 116-129.
	Wild-Schubert 2008 Jonathan Wild, Peter Schubert, “Historically informed retuning of polyphonic vocal performance”, Journal of interdisciplinary music studies, 2/1-2 (2008): 121–139.
	Morelli 2009 Arnaldo Morelli, “Una nuova fonte per la musica di Ghiselino Danckerts «musico e cantore cappellano della cappella del papa»”, Recercare, 21/1-2 (2009): 75-110. [Jstor]
2010
	Gallagher 2010 David Gallagher, The Arch-Musician, documentary for BBC Radio 3 (broadcast 27 March 2010 and 23 July 2011) \| info \| info Preparing this documentary, David Gallagher asked Mary Hollingsworth about references to Vicentino in Ippolito II d’Este’s account books in Modena (no references to Vicentino appeared in Hollingsworth 2004). In Archivio di Stato, Archivio Segreto Estense, Amministrazione dei Principi, Hollingsworth found 11 references to Vicentino (1551-55 and 1559). From 2009, Gallagher visited the Archivio di Stato in Modena and found some additional references to Vicentino: – Rome, 7 December 1551 \| ‘Don Nicuola Montino’ paid pension for June-October 1551 [985: f. 16r] – Ferrara, 20 September 1552 \| ‘Don Nicola cantore’ paid pension [891: f. 33v] – Siena, 1 June 1553 \| ‘Don Nicola cromatico’ paid pension for October 1552 to March 1553 [915: f. 40v] – same date \| ‘Don Nicola Vesentino cromatico capellano [dell’Ill.^mo]’ [866: ff. 48v, 49r] – Siena, 1 July 1553 \| ‘Don Nicola cromaticho capellano dell’Ill.^mo’ paid pension [915: f. 44r] – same date \| ‘Don Nicola Vesentino cromatico capellano [dell’Ill.^mo]’ [866: ff. 48v, 49r] – Siena, 28 October 1553 \| ‘Don Nicola Vesentino cromaticho capellano dell’Ill.^mo’ paid pension to end of October 1553 [915: f. 54r] – same date \| ‘Don Nicola Vesentino cromatico capellano [dell’Ill.^mo]’ [866: ff. 48v, 49r] – Siena, 12 May 1554 \| ‘Don Nicola cromatico vesentino’ paid pension for October 1553 to March 1554 [987: f. 40v] – Ferrara, 4 September 1554 \| ‘Don Nicola cromatico vesentino’ paid pension for April–June 1554 [987: f. 49v] – 9 December 1555 \| ‘Don Nicola Vesentino’ paid pension [913: f. 47v \| 912: f. 80v \| 988: f. 53r] – s.l., 8 August 1559 \| 3 October 1559 – ‘Don Nicolla Capellano’ lost two mattresses and two pillows recently [929/1: f. 36r \| 928: f. 224r] – s.l., 29 August 1559 \| 3 October 1559 \| ‘Don Nicolla Capellano’ lost two palliases recently [929/1: f. 37r \| 928: f. 225r] – s.l., 30 December 1559 \| ‘don Nicolla Capellano’ lost four sheets recently [929/1: f. 34r \| 928: f. 299r]. – s.l., s.d. \| ‘Viscontino’ included in a list labelled ‘Lista della famiglia del Car.^le di Ferr.^a’ [1023/B: bifoglio n.n.]
	McKinney 2010 Timothy R. McKinney, Adrian Willaert and the theory of interval affect: The “Musica nova” madrigals and the novel theories of Zarlino and Vicentino (Farnham: Ashgate, 2010).
	Kreitner 2011 Renaissance Music, ed. Kenneth Kreitner (Farnham: Ashgate, 2011).
	Bizzarini 2012 Federico Borromeo e la musica: Scritti e carteggi, ed. Marco Bizzarini (Roma: Bulzoni, 2012).
	Blackburn 2012 Bonnie J. Blackburn, “Myself when Young: Becoming a Musician in Renaissance Italy—or Not”, Proceedings of the British Academy, 181 (2012): 169–203.
	McDonald 2012 Grantley McDonald, “Music, magic, and humanism in late sixteenth century Venice: Fabio Paolini and the heritage of Ficino, Vicentino, and Zarlino”, Journal of the Alamire Foundation, 4/2 (2012) 222-250.
	Canguilhem 2013 Chanter sur le livre à la Renaissance: Les traités de contrepoint de Vicente Lusitano, ed. Philippe Canguilhem (Turnhout: Brepols, 2013).
	C. Collins 2013 Musical Theory in the Renaissance, ed. Cristle Collins Judd (Farnham: Ashgate, 2013,): 3–23
	Andrés 2014 Nicola Vicentino: “Musica prisca caput”, ed. S. de Andrés (online ed. at Imlsp, 2014).
	McKinney 2014 Timothy R. McKinney, “A rule made to be broken: On Zarlino, Vicentino, Willaert and parallel congruent imperfect consonances”, Early music, 42/2 (2014): 175-189.
	Parise 2014 Cesare V. Parise, Katharina Knorre, Marc O. Ernst, “Natural auditory scene statistics shapes human spatial hearing”, Proceedings of the National Academy of Sciences of the United States of America, 111/16 (2014): 6104–8.
	Wild 2014 Jonathan Wild, Bruno L. Giordano, Mikaela Miller, Stephen McAdams, “Perception of Vicentino’s 31-tone tuning system”, Disiplinlerarasý müzik araþtýrmalarý dergisi, 8/1-2 (2014): 157-181.
	Wild 2014/a Jonathan Wild, “Genus, species and mode in Vicentino’s 31-tone compositional theory”, Music theory online, 20/2 (2014).
	DeFord 2015 Ruth I. DeFord, Tactus, mensuration, and rhythm in Renaissance music (Cambridge: Cambridge University press, 2015).
	Kirnbauer 2015 Martin Kirnbauer, Nicola Vicentino (1511-1577): Ein Biographischer Abriss, on line (2015) su projektstudio31.com
	Kirnbauer 2015/a Martin Kirnbauer, “’Vieltönigkeit’ instead of microtonality: The theory and practice of sixteenth- and seventeenth-century ‘microtonal’ music”, in Experimental Affinities in Music [open access], ed. Paulo de Assis (Leuven: University Press, 2015): 64-90.
	Mutch 2015 Caleb Michael Mutch, Studies in the History of the Cadence, Ph.D. diss. (New York: Columbia University), 2015.
	Newcomb 2015 Anthony Newcomb, “Gombert, Domine, si tu es: An Appreciation”, The Journal of Musicology, 32/3 (2015): 346–66.
	So 2015 Nicola Vicentino: “Musica prisca caput”, ed. Clive So (online ed. at Imlsp, 2015).
	Urquhart 2015 Peter Urquhart, “Remarks on some Chansons by Jean Mouton, and Related Matters”, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 65/1-2 (2015): 37–65.
	Urquhart 2015/a Peter Urquhart, “Issues of Counterpoint in Gombert’s Missa Tempore paschali”, The Journal of Musicology, 32/3 (2015): 410–39.
	Pantarotto 2017 Martina Pantarotto, “Franchino Gaffurio e i suoi libri”, in Ritratto di Gaffurio, ed. Davide Daolmi (Lucca: LIM, 2017): 49-72.
	Stras 2017 Laurie Stras, “Voci pari Motets and Convent Polyphony in the 1540s: The materna lingua Complex”, Journal of the American Musicological Society, 70/3 (2017): 617–96.
2020
	Daolmi 2020 Davide Daolmi, “Vicentino, Nicola”, in Dizionario biografico degli italiani, vol. 99 (Roma: Istituto della Enciclopedia italiana, 2020): ad vocem.
	Kirnbauer 2021 Martin Kirnbauer, “«Sonare & cantare le pronuntie delle passioni delle parole»: Annäherungen an Nicola Vicentinos arciorgano”, in Stimme – Instrument – Vokalität – Blicke auf dynamische Beziehungen in der Alten Musik, ed. Martina Papiro (Basel: Schwabe, 2021): 71–91.

Bibliografia

(Munich, Bayerische Staatsbibliothek, 4 Mus.th. 702)

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| | | Paris: Pierre Attaingnant, 1530 [= 1531]. Chansons und Tänze, ed. Eduard Bernoulli, 5 vols [I-IV = repr.; V = Textbeigabe] (München: Carl Kuhn, 1914).

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(CATB) British Library, K.3.d.5 (AT) Munich, Bayerische Staatsbibliothek [shelfmark 4 Mus.pr. 56, Beibd. 2

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Ossuna: Juan de León, 1549. [2nd ed.] Ossuna: Juan de León, 1555 — [repr. 1555] ed. Macario Santiago Kastner (Kassel, Basel: Bärenreiter, 1957).

– tre copie autografe: Vallicelliana, R.56A.15 (prima vers.) | R.56A.33 (seconda) | R.56B (terza) | cfr Lockwood 1965 – Roma, Casanatense, 2880 (copia di Baini descritta in La Fage 1864: i.224-239)

— Milano: Francesco & Simone Moscheni, 1555. — [mod. ed.] by Jessie Ann Owens (New York, London: Garland, 1995).

— Venezia: Antonio Gardano, 1561 [Rism 156110] (Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 155, Beibd. 5) — [repr.] Venezia: Antonio Gardano, 1569 [Rism 156918] — [repr.] Venezia: Antonio Gardano, 1580 [Rism 15809]

— [repr.] in Catelani 1851, pp. 209-210. — [Germ. trans.] in Wolf 1900. — [Engl. trans.] in Kaufmann 1961/a — [facs.] in Kaufmann 1966: 172. [digital ed. + Germ. trans.] ed. Martin Kirnbauer (2015).

Venetiis: apud Antonium Gardanum, 1568. — [mod. ed.] by Albert Dunning, 2 vols (American Institute of Musicology, 1974).

(London, British Library, K.3.g.12)

Lost, see Vicentino 1570 — In Vicentino 1571 si trovano i madrigali L’asprezza e crudeltà (cfr Melone secondo, p. 7 e Sigonio 1571, p. 34-35) e ’L vidi in terra (Melone secondo, p. 7-8, e Sigonio, p. 35)

Lost, see Vicentino 1570 — Il curatore è detto da Bottrigari «Bariolo | Organista del Domo di Milano» (cfr p. 61v)

— In Venetia: per Francesco dei Franceschi Senese, 1571. — [repr.] in Zarlino 1589, vol. 2. — [repr.] in Zarlino 1602, vol. 2. — [on line ed.] in TMI

— copie: Modena (SATB5) | Piacenza (5) — [mod. ed.] in Kaufmann 1963: pp. 77-122. n. 7 (L’aura che ’l verde lauro et l’aureo crine), ed. Allen Garvin (2015) — [record.] Lala Höhö (2010) | Las Huelgas (2013) | Las Huelgas (2016) |

— Books II and III of Bertrand 1576

In Milano: per Paolo Gottardo Pontio, stampatore regio, a instantia di Pietro Tini, 1584 | (alter) Ibidem, 1585. 1 | 2 | 3 | [ed. mod.] 3 vols (Roma: Saverio Del Monte, 1844). — [repr. 1584] Hildesheim: Olms, 1968.

p. *3v] Nella dedica a Lucrezia d’Este si ricorda l’importanza della musica a Ferrara e il ruolo di Vicentino

Paris: Abel L’Angelier, 1587. — [mod. ed.] ed. Cathy M. Yandell (Geneva: Droz, 1980). [online ed.] in TFM

Cfr McDonald 2012

ms. in Firenze, Bibl. naz. centrale, Fondo galileiano, Gal. 3, cc. 3-34. — [mod. ed.] in Rempp 1980: 163-180.

Ferrara: Vittorio Baldini, 1602. — [repr.] Bologna: Forni, 1969.

1 | 2 | In Venetia: appresso Giacomo Vincenti, 1600-1603). — Bologna: Forni, 1968, 22000.

Florentiae: typis Amatoris Massae Foroliviensis, 1647 | (alter) — [repr.] Hildesheim: Olms, 1986.

p. 85] Descrizione dell’archicembalo

| | Venezia: presso Giambatista Pasquali, 1753 | | Parma: per li fratelli Gozzi a spese di Luigi Mussi, 1803-04 ii.416] Nota di Zeno su Vicentino

— 2 vols, Florentiae: typis Caesareis, 1763. — [repr.] Bologna: Forni, 1974. — [repr.] “commentary and iconographical study ... with critical notes”, ed. Claude V. Palisca (Bologna: Amis, 1981).

1 | 2 | 3 | Bologna: per la stamperia di Carlo Trenti all’insegna di Sant’Antonio, 1783-1788 — [repr.] Bologna: Forni, 1969. Riferimenti a Vicentino alle pp. 174-75, 184 e 266.

| | | Bologna: Lelio della Volpe, 1757-1770-1781. — [repr.] ed. Othmar Wessely, Graz: Akademische Druck und Verlagsanstalt, 1967.

— editions in Trovatore amante spia, p. 87 VII, lib. II/ii/62 (p. 450 della i ed. e p. 571 della ii ed.)] Riferimento a Vicentino sulla scorta di Arteaga 1778 e Doni 1635

| | | | Milano: Antonio Fontana, 1826, 21836. — [Fr. trans.] Dictionnaire de musique ... traduit et augmenté par Dominique Mondo (Paris: Troupenas, 1839). — [repr.] Bologna: Forni, 1970. iv.65, 276] Rif. a Vicentino

44 (2 novembre): 201-292 | 45 (9 novembre): 205-206 | 46 (16 novembre): 209-210.

| trad. e aggiornamento di Fétis 1830

1 | 2 | 2 vols, Paris: O. Legouix, 1864. — [repr.] Amsterdam: F.A.M. Knuf, 1964.

Vicenza: tip. Burato, 1878. [2nd ed.] Firenze: successori Le Monnier, 1894.

| | Hirzel, Leipzig: 1883-1890. — [Engl. trans.] by Robin D. Rollinger, Tone Psychology: 1. The Sensation of Successive Single Tones (Routledge: London, 2019).

Leipzig: Breitkopf & Hartel, 1884. — [repr.] Hants: Gregg International Publishers Limited, 1968.

— Leipzig: Breitkopf & Härtel, 1902. — [repr.] Farnborough: Gregg, 1968.

(alter) | (pp. 236-264) Ettore Verga, [recensione], Archivio storico lombardo, ser. iii, vol. 18, 29 (1902): 172-178.

— Journal of Experimental Psychology, 13/3 (1930): 278–85. [digital ed.]

1. Musiche strumentali e “per cantar et sonar” sino al 1590 | 2. Canzoni e sonate a più strumenti di Giovanni Gabrieli contenute nelle “Sacrae Symphoniae” del 1597 [pref. by Gaetano Cesari]

— Journal of Experimental Psychology, 17/4 (1934): 593–99. [digital ed.]

— Strassburg, Leipzig, Zürich: Heitz, 1937. — [repr.] “enlarged second edition” (Baden-Baden: Valentin Koerner, 1972).

— Sibley Music Eastman School Archives, Coll ML95.2 .M649 (info)

— Leipzig: Breitkopf & Härtel, 1937. — [repr.] Hildesheim: Olms, 1968.

— Roma: F.lli Scalera, 1939. — [repr.] Firenze: Biagiotti, 1968.

pp. 169-171, 180-181.

— Kopenhagen: Munksgaard, 1943 — [rev. and enlarg. ed.] 2 vols [+ Band 2. Altitalienische Orgelmusik : Marco Antonio (Cavazzoni) da Bologna, Jacopo Fogliano, Julio (Segni) da Modena, Jaches (Brumel)] (Kobenhavn: Hansen, 1960).

— Milano: Rosa e Ballo, 1946. — [repr. (some illustrations omitted)] in Id., Il filo di Arianna: Saggi e fantasie (Torino: Einaudi, 1966): 3–74.

— Journal of the History of Ideas, 15/4 (1954): 509–53. — [repr.] in Renaissance Essays from the Journal of the History of Ideas, ed. Paul Oskar Kristeller, Philip P. Wiener (New York, Evanston (IL): Harper Torchbooks, 1968): 337–81. — [repr.] in Lowinsky 1989, 1: 19–39 (No. 3).

— “Supplément”, in Revue de Musicologie, 40, 116 (1957): 166-172.

pp. 27-31, 46-48.

p. 182] Segnala il mottetto a 6 Infelix ego omnium / Ad te igitur (di cui sopravvivono 4 parti a Regensburg, Proske-Musikbibliothek, Butsch 223-33) sullo stesso tenor di Josquin, mottetto poi pubblicato in Kaufmann 1963: 155.

PhD, University of Southern California, 1962. — Ann Arbor: Umi, 1991

(indice)

pp. 48-49.

— London: Oxford University Press, 1966. — [repr.] Westport ct, Greenwood, 1980.

in O’Kelly 1966: 129–77. — [repr.] in Lowinsky 1989, 1: 87–105 (No. 6; slightly revised and enlarged from 1966 version).

— in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue (New York: Norton, 1966): 683–92. — London: Oup, 1967. — [rev. 2nd ed.] New York: Pendragon, 1978.

— in Art, science and history in the Renaissance, ed. Charles S. Singleton (Baltimore: Johns Hopkins Press, 1967, 21970): 113–62. — [repr. 1970] Ann Arbor: University Microfilms International, 1988. — in Lowinsky 1989, 2: 730–53 (n. 31).

— Analecta Musicologica, 10 (1970) — [It. trans.] La musica strumentale nel Rinascimento: studi sulla musica strumentale d’assieme in Italia nel 16. secolo (Torino: Eri, 1976).

pp. 7-27, 48-67

— Musica Disciplina, 26 (1972): 73-100. [Jstor] — [repr.] in Bent 2002.

— Roma: Andrea Antico, 1517.

— in Jeppesen 1943.

— ed. Benvenuto Disertori (Milano: Ricordi, 1964).

— [repr.] ed. Giuseppe Radole (Bologna: Forni, 1970, ²1984).

— [repr.] ed. Peter Sterzinger (Wien, München: Doblinger, 1987).

ed. Maria Luisa Baldassari (Bologna: Ut Orpheus, 2016).

| | | Paris: Pierre Attaingnant, 1530 [= 1531].

Chansons und Tänze, ed. Eduard Bernoulli, 5 vols [I-IV = repr.; V = Textbeigabe] (München: Carl Kuhn, 1914).

| Paris: Pierre Attaignant, 1531.

— [repr.] 2 vols, ed. Marcel Degrutère (Courlay: J. M. Fuzeau, 1998-2000).

(CATB) British Library, K.3.d.5

(AT) Munich, Bayerische Staatsbibliothek [shelfmark 4 Mus.pr. 56, Beibd. 2

— Venetia: Antonio Gardane, 1542.

— [mod. ed.] in Charteris 1992.

— [nod. ed.] by Owens 1995.

London, British Library, K.3.b.8

Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 42, Beibd. 1

— Venezia: Antonio Gardano, 1547.

— [repr.] Delli madrigali a quatro voci. Composti da l’Hoste da Reggio ... Edizione nouamente da li suoi proprii exemplari corretti et post’in luce (Venetiis: apud Hieronymum Scotum, 1554).

— [mod. ed.] Owens 1987

— info (Rism)

— copie: Parigi | Monaco

[mod. ed.] in Chilesotti 1912: 550-552

Ossuna: Juan de León, 1549.

[2nd ed.] Ossuna: Juan de León, 1555

— [repr. 1555] ed. Macario Santiago Kastner (Kassel, Basel: Bärenreiter, 1957).

– tre copie autografe: Vallicelliana, R.56A.15 (prima vers.) | R.56A.33 (seconda) | R.56B (terza) | cfr Lockwood 1965

– Roma, Casanatense, 2880 (copia di Baini descritta in La Fage 1864: i.224-239)

— Milano: Francesco & Simone Moscheni, 1555.

— [mod. ed.] by Jessie Ann Owens (New York, London: Garland, 1995).

— Venezia: Antonio Gardano, 1561 [Rism 1561¹⁰] (Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 155, Beibd. 5)

— [repr.] Venezia: Antonio Gardano, 1569 [Rism 1569¹⁸]

— [repr.] Venezia: Antonio Gardano, 1580 [Rism 1580⁹]

— [repr.] in Catelani 1851, pp. 209-210.

— [Germ. trans.] in Wolf 1900.

— [Engl. trans.] in Kaufmann 1961/a

— [facs.] in Kaufmann 1966: 172.

[digital ed. + Germ. trans.] ed. Martin Kirnbauer (2015).

Venetiis: apud Antonium Gardanum, 1568.

— [mod. ed.] by Albert Dunning, 2 vols (American Institute of Musicology, 1974).

— In Venetia: per Francesco dei Franceschi Senese, 1571.

— [repr.] in Zarlino 1589, vol. 2.

— [repr.] in Zarlino 1602, vol. 2.

— [on line ed.] in TMI

— copie: Modena (SATB5) | Piacenza (5)

— [mod. ed.] in Kaufmann 1963: pp. 77-122.

n. 7 (L’aura che ’l verde lauro et l’aureo crine), ed. Allen Garvin (2015) — [record.] Lala Höhö (2010) | Las Huelgas (2013) | Las Huelgas (2016) |

In Milano: per Paolo Gottardo Pontio, stampatore regio, a instantia di Pietro Tini, 1584 | (alter)

Ibidem, 1585.

1 | 2 | 3 | [ed. mod.] 3 vols (Roma: Saverio Del Monte, 1844).

— [repr. 1584] Hildesheim: Olms, 1968.

Paris: Abel L’Angelier, 1587.

— [mod. ed.] ed. Cathy M. Yandell (Geneva: Droz, 1980).

[online ed.] in TFM

ms. in Firenze, Bibl. naz. centrale, Fondo galileiano, Gal. 3, cc. 3-34.

— [mod. ed.] in Rempp 1980: 163-180.

Ferrara: Vittorio Baldini, 1602.

— [repr.] Bologna: Forni, 1969.

1 | 2 | In Venetia: appresso Giacomo Vincenti, 1600-1603).

— Bologna: Forni, 1968, ²2000.

Florentiae: typis Amatoris Massae Foroliviensis, 1647 | (alter)

— [repr.] Hildesheim: Olms, 1986.

| | Venezia: presso Giambatista Pasquali, 1753

| | Parma: per li fratelli Gozzi a spese di Luigi Mussi, 1803-04

ii.416] Nota di Zeno su Vicentino

— 2 vols, Florentiae: typis Caesareis, 1763.

— [repr.] Bologna: Forni, 1974.

— [repr.] “commentary and iconographical study ... with critical notes”, ed. Claude V. Palisca (Bologna: Amis, 1981).

1 | 2 | 3 | Bologna: per la stamperia di Carlo Trenti all’insegna di Sant’Antonio, 1783-1788

— [repr.] Bologna: Forni, 1969.

Riferimenti a Vicentino alle pp. 174-75, 184 e 266.

| | | Bologna: Lelio della Volpe, 1757-1770-1781.

— [repr.] ed. Othmar Wessely, Graz: Akademische Druck und Verlagsanstalt, 1967.

— editions in Trovatore amante spia, p. 87

VII, lib. II/ii/62 (p. 450 della i ed. e p. 571 della ii ed.)] Riferimento a Vicentino sulla scorta di Arteaga 1778 e Doni 1635

| | | | Milano: Antonio Fontana, 1826, ²1836.

— [Fr. trans.] Dictionnaire de musique ... traduit et augmenté par Dominique Mondo (Paris: Troupenas, 1839).

— [repr.] Bologna: Forni, 1970.

iv.65, 276] Rif. a Vicentino

1 | 2 | 2 vols, Paris: O. Legouix, 1864.

— [repr.] Amsterdam: F.A.M. Knuf, 1964.

Vicenza: tip. Burato, 1878.

[2nd ed.] Firenze: successori Le Monnier, 1894.

| | Hirzel, Leipzig: 1883-1890.

— [Engl. trans.] by Robin D. Rollinger, Tone Psychology: 1. The Sensation of Successive Single Tones (Routledge: London, 2019).

Leipzig: Breitkopf & Hartel, 1884.

— [repr.] Hants: Gregg International Publishers Limited, 1968.

— Leipzig: Breitkopf & Härtel, 1902.

— [repr.] Farnborough: Gregg, 1968.

(alter) | (pp. 236-264)

Ettore Verga, [recensione], Archivio storico lombardo, ser. iii, vol. 18, 29 (1902): 172-178.

— Journal of Experimental Psychology, 13/3 (1930): 278–85.

[digital ed.]

— Journal of Experimental Psychology, 17/4 (1934): 593–99.

[digital ed.]

— Strassburg, Leipzig, Zürich: Heitz, 1937.

— [repr.] “enlarged second edition” (Baden-Baden: Valentin Koerner, 1972).

— Leipzig: Breitkopf & Härtel, 1937.

— [repr.] Hildesheim: Olms, 1968.

— Roma: F.lli Scalera, 1939.

— [repr.] Firenze: Biagiotti, 1968.

— Kopenhagen: Munksgaard, 1943

— [rev. and enlarg. ed.] 2 vols [+ Band 2. Altitalienische Orgelmusik : Marco Antonio (Cavazzoni) da Bologna, Jacopo Fogliano, Julio (Segni) da Modena, Jaches (Brumel)] (Kobenhavn: Hansen, 1960).

— Milano: Rosa e Ballo, 1946.

— [repr. (some illustrations omitted)] in Id., Il filo di Arianna: Saggi e fantasie (Torino: Einaudi, 1966): 3–74.

— Journal of the History of Ideas, 15/4 (1954): 509–53.

— [repr.] in Renaissance Essays from the Journal of the History of Ideas, ed. Paul Oskar Kristeller, Philip P. Wiener (New York, Evanston (IL): Harper Torchbooks, 1968): 337–81.

— [repr.] in Lowinsky 1989, 1: 19–39 (No. 3).

PhD, University of Southern California, 1962.

— Ann Arbor: Umi, 1991

— London: Oxford University Press, 1966.

— [repr.] Westport ct, Greenwood, 1980.

in O’Kelly 1966: 129–77.

— [repr.] in Lowinsky 1989, 1: 87–105 (No. 6; slightly revised and enlarged from 1966 version).

— in Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue (New York: Norton, 1966): 683–92.

— London: Oup, 1967.

— [rev. 2nd ed.] New York: Pendragon, 1978.

— in Art, science and history in the Renaissance, ed. Charles S. Singleton (Baltimore: Johns Hopkins Press, 1967, ²1970): 113–62.

— [repr. 1970] Ann Arbor: University Microfilms International, 1988.

— in Lowinsky 1989, 2: 730–53 (n. 31).

— Analecta Musicologica, 10 (1970)

— [It. trans.] La musica strumentale nel Rinascimento: studi sulla musica strumentale d’assieme in Italia nel 16. secolo (Torino: Eri, 1976).

— Musica Disciplina, 26 (1972): 73-100. [Jstor]

— [repr.] in Bent 2002.