You limited your search to:

 Resource Type: Book
 Collection: Virtual Music Rare Book Room
Le istitutioni harmoniche

Le istitutioni harmoniche

Date: 1562
Creator: Zarlino, Gioseffo, 1517-1590.
Description: This is a 1562 copy of "Le istitutioni harmoniche," one of the most influential music theory treatises written by Gioseffo Zarlino. The first edition appeared in Venice in 1558. The treatise, divided in four parts, includes theoretical and practical elements of music. The first two parts discuss philosophical, cosmological and mathematical aspects of music, Greek tonal system and tuning. The third and fourth parts cover the rules of counterpoint and modes, respectively. This copy bears a dedication to Vicenzo Diedo. It contains a table of contents per chapter and list of corrections. Several handwritten annotations appear on the t.p. ink: "coll: cochi nuoi soc: Jesù;" "exdono Joannis Jerary;" and "Inscriptet catalog."
Contributing Partner: UNT Music Library
Jeannot et Colin

Jeannot et Colin

Date: [1857]
Creator: Etienne, Charles Guillaume, 1777-1845.
Description: This is a ca. 1857 copy of the libretto of Jeannot et Colin, an opera by Charles Etienne with music by Nicolo Isouard. The opera premiered in Paris at the theater of the Opéra-Comique on 17 October 1814. The expressive melodies of the opera as well as its performers ensured its success. The opera was staged again on 14 October 1857. The first page of the library's copy contain the names of the performers that participated in both productions.
Contributing Partner: UNT Music Library
Momie

Momie

Date: [1778?]
Creator: Despréaux, Jean Étienne, 1748-1820.
Description: This is a ca. 1778 libretto for the burlesque opera in three acts "Momie" by a Jean Étiennethat Despréaux. The opera is a parody based on Leblanc du Roullet's libretto of "Iphigénie en Aulide," an opera by Christoph Willibald Gluck. The libretto includes the titles of the tunes at the opening of each scene. Page 6 of the library's copy is incorrectly numbered as page 9.
Contributing Partner: UNT Music Library
The Padlock

The Padlock

Date: [1768]
Creator: Bickerstaff, Isaac, 1735-1812.
Description: This is a copy of a ca. 1768 edition of Isaac Bickerstaff libretto for the two-act English comic opera "The Paddlock" by Charles Dibdin. The plot is an adaptation of Miguel de Cervantes's "El celoso extremeño" (translated as, The Jealous Estremaduran). The t.p. features a vignette signed by IJ Taylor [possibly by the London engraver Isaac Taylor (1730-1807)] with four infants. The one at the center is holding several keys and is playing horse riding with a walking stick that has a padlock attached to it. In the story, Don Diego, a rich old man, hopes to marry the young Leonora and locks her inside his house using a large padlock on the front door. After bribing the servants, the younger suitor, Leander, climbs over the garden wall to court Leonora. Don Diego returns unexpectedly and catches the lovers, but allows the young couple to wed acknowledging that he is too old for Leonora.
Contributing Partner: UNT Music Library
Phaeton

Phaeton

Date: 1683
Creator: Quinault, Philippe, 1635-1688.
Description: Libretto of the opera "Phaeton," by Philippe Quinolt. The plot is based on an episode in Ovid's Metamorphoses. In the plot, Phaethon, son of Climène and Soleil [the Sun], is filled with excessive ambition and pride. He abandons his beloved, Théone, and requests to the King of Egypt the hand of his daughter Libie. Climène, who after consulting the sea god Proteus knows of the demise that her son's avarice will bring upon himself, tries in vain to discourage his ambition for the throne of Egypt and urges him to renew his love for Theona. However, Phaeton goaded by the taunts of his rival, Epaphus, rides recklessly across the sky in his father's chariot. The spectacular ending includes Jupiter's thunderbolts aimed at stopping Phaethon's wild ride, and Phaethon crashing onto earth where he dies. An ensemble and chorus provide a sorrowful denouement. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. It also includes an engraved frontispiece titled, "Le ...
Contributing Partner: UNT Music Library
Le piacevoli poesie

Le piacevoli poesie

Date: [1750]
Creator: Baretti, Giuseppe Marco Antonio, 1719-1789.
Description: This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati.
Contributing Partner: UNT Music Library
Pigmalion

Pigmalion

Date: 1773
Creator: Panard, Charles-François, d. 1765.
Description: This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10.
Contributing Partner: UNT Music Library
Plain and easy introduction to practical music

Plain and easy introduction to practical music

Date: 1771
Creator: Morley, Thomas, 1557-1603?
Description: In 1597, while Morley was negotiating for the patent, he wrote his musical treatise, A Plaine and Easie Introduction to Practicall Musicke. Although his preface contains the statement that he had “nothing better to do,” Morley probably knew publishing a treatise on the science of music would boost public interest in purchasing musical works. In addition, by publishing such a work, the English audience would view Morley as an authority in music (and he would become more likely to obtain the patent) (Smith, “Print Culture and the Elizabethan Composer,” 163). The work is practical, and is organized into three sections: teaching to sing simple song, teaching to sing two parts over a plainsong or ground, and teaching counterpoint.
Contributing Partner: UNT Music Library
Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Date: 1596
Creator: Zacconi, Lodovico, 1555-1627.
Description: This book is the first part of Lodovico Zacconi's "Prattica di musica," published in 1596. The contents of this book are divided in four parts covering: the history of music, definition of musical terms, introduction to musical notation, modes, time and prolation, rules of counterpoint, musica ficta, classification of musical instruments, and proper manner of singing polyphonic works and musical ornaments. A second part, "Prattica di musica seconda parte," was published in Venice in 1622. The library's copy contains the following pagination errors: leaves 30, 67, 124, 130, 134, 188 were numbered incorrectly as 29, 140, 130, 122, 130, 194, respectively. There are two leaves numbered 50, each containing the parts for the alto, bass and tenor with underlaid text "Beatus author seculi" and "Residuo." Each leaf is preceded by another leaf that contains the singing parts for the cantus, quintus and tenor. These are two versions of a polyphonic setting, in duple time and triple mensuration, respectively. In the second example, the words Gloria tibi domine" appear under the cantus and quintus.
Contributing Partner: UNT Music Library
Proserpine

Proserpine

Date: 1680
Creator: Quinault, Philippe, 1635-1688.
Description: Libretto of the opera "Proserpine," by Philippe Quinolt; the plot is based on the story of the abduction of Proserpine and her descent into Hades, and also on Ovid's Metamorphoses, its original source. In the plot, Cerés, the goddess of the earth, summons the nymph Aréthuse to guard her daughter Proserpine. Aréthuse protests, and tells Cerés of her love for Alphée, the river god, but the anxious mother warns her she should not let her own feelings interfere with the assigned task. Alphée assumes that Aréthuse abandoned him to look after Proserpine. Taking advantage of the situation, Ascalaphe, Pluto's envoy, encourages Alphée's belief in Aréthuse's supposed infidelity; then, persuades both Alphée and Aréthuse into letting Pluto watch over Proserpine. Alphée and Aréthuse agree and as the lovers' attention wanders, Pluto seizes Proserpine and abducts her. Cerés learns of her daughter's abduction and in despair decides to withhold her gifts that give earth prosperity. When Alphée and Aréthuse finally reach Proserpine, they find that she has already eaten of the grain and tasted the fruit of the underworld, which condemned her to Pluto's control. Proserpine begs Pluto for mercy, but the love-stricken god refuses to free her. Pluto summons his judges ...
Contributing Partner: UNT Music Library