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Contents

Music from the Earliest Notations to the Sixteenth Century

Further Reading: A Checklist of Books in English

Chapter:
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

This listing of recommended further reading in English is a supplement to the literature cited in the Notes sections. It is largely confined to books, rather than journal articles where the cutting edge of research is often found (and which are favored in the citations).

General Companions

Lang, Paul Henry. Music in Western Civilization. New York: Norton, 1941.

Lippman, Edward A. Musical Aesthetics: A Historical Reader. Three vols. Stuyvesant, N.Y.: Pendragon Press, 1986–90.

New Grove Dictionary of Music and Musicians. Rev. ed., New York: Grove, 2000.

New Grove Dictionary of Opera. New York: Oxford University Press, 1992.

Treitler, Leo, ed. Strunk’s Source Readings in Music History. Rev. ed., New York: Norton, 1998.

Weiss, Piero, and Richard Taruskin. Music in the Western World: A History in Documents, 2nd ed., Belmont CA: Thomson/Schirmer, 2007.

The Earliest Notations to the Sixteenth Century

General Sources

Atlas, Allan. Renaissance Music: Music in Western Europe, 1400–1600. New York: Norton, 1998.

Brown, Howard Mayer, and Stanley Sadie. Performance Practice: Music before 1600. New York: Norton, 1989.

Cattin, Giulio. Music of the Middle Ages. Vol. I, trans. Steven Botterill. Cambridge: Cambridge University Press, 1984.

Fenlon, Iain, ed. Man and Music: The Renaissance. Englewood Cliffs, N.J.: Prentice Hall, 1989.

——. Music in Medieval and Early Modern Europe: Patronage, Sources, and Text. Cambridge: Cambridge University Press, 1981.

Gallo, F. Alberto. Music of the Middle Ages. Vol. II. Cambridge: Cambridge University Press, 1985.

Hoppin, Richard H. Medieval Music. New York: Norton, 1978.

Knighton, Tess, and David Fallows. Companion to Medieval and Renaissance Music. New York: Schirmer, 1992.

McKinnon, James, ed. Music and Society: Antiquity and the Middle Ages. Englewood Cliffs, N.J.: Prentice Hall, 1991.

Perkins, Leeman L. Music in the Age of the Renaissance. New York: Norton, 1999.

Reese, Gustave. Music in the Middle Ages. 1940. Rev. ed., New York: Norton, 1964.

——. Music in the Renaissance. 1954. Rev. ed., New York: Norton, 1958.

Sternfeld, Frederick W., ed. Music from the Middle Ages to the Renaissance. New York: Praeger, 1973.

Strohm, Reinhard. The Rise of European Music, 1380–1500. Cambridge: Cambridge University Press, 1993.

Wilson, David Fenwick. Music of the Middle Ages: Style and Structure. New York: Schirmer, 1990.

Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs, N.J.: Prentice Hall, 1989.

Chapter 1 The Curtain Goes Up

Apel, Willi. Gregorian Chant. Bloomington: Indiana University Press, 1958.

Crocker, Richard L. An Introduction to Gregorian Chant. New Haven: Yale University Press, 2000.

Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Paperbacks, 1995.

Jeffery, Peter. Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant. Chicago: University of Chicago Press, 1995.

Jones, Cheslyn, Geoffrey Wainwright, and Edward Yarnold, eds. The Study of Liturgy. New York: Oxford University Press, 1978.

Jungmann, Josef. The Mass of the Roman Rite, trans. Francis A. Brunner. 2 vols. New York: Benziger, 1951–55.

Karp, Theodore C. Aspects of Orality and Formularity in Gregorian Chant. Evanston, Ill.: Northwestern University Press, 1998.

McKinnon, James C. The Advent Project: The Later Seventh-Century Creation of the Roman Mass Proper. Berkeley and Los Angeles: University of California Press, 2000.

Ong, Walter J. Orality and Literacy (New Accents). New York: Routledge, 2002.

Rayburn, John. Gregorian Chant: A History of the Controversy Concerning Its Rhythm. 1964. Reprint, Westport, Conn.: Greenwood Press, 1981.

Treitler, Leo. With Voice and Pen: Coming to Know Medieval Song and How It Was Made. New York: Oxford University Press, 2003.

Vogel, Cyrille. Medieval Liturgy: An Introduction to the Sources. Rev. and ed. by W. G. Storey and N. K. Rasmussen. Washington, D.C.: Pastoral Press, 1986.

Wagner, Peter. Introduction to the Gregorian Melodies, trans. Agnes Orme and E. G. P. Wyatt. 2nd ed., New York: Da Capo Press, 1986.

Werf, Hendrik van der. The Emergence of Gregorian Chant. Rochester, N.Y.: privately printed by the author, 1983.

Chapter 2 New Styles and Forms

Crocker, Richard L. Studies in Medieval Music Theory and the Early Sequence. Aldershot: Variorum, 1997.

Evans, Paul. The Early Trope Repertory of Saint Martial de Limoges. Princeton, N.J.: Princeton University Press, 1970.

Planchart, Alejandro Enrique. The Repertory of Tropes at Winchester. Princeton, N.J.: Princeton University Press, 1977.

Chapter 3 Retheorizing Music

Babb, Warren, trans., and Claude V. Palisca, ed. Hucbald, Guido and John on Music. New Haven: Yale University Press, 1978.

Campbell, Thomas P., and Clifford Davidson, eds. The Fleury Playbook. Kalamazoo: Western Michigan University Press, 1985.

Carpenter, Nan Cooke. Music in the Medieval and Renaissance Universities. Norman: University of Oklahoma Press, 1958; Reprint, New York: Da Capo, 1972.

Christensen, Thomas, ed. The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2002.

Hardison, O. B., Jr. Christian Rite and Christian Drama in the Middle Ages. 1965. Reprint, Westport, Conn.: Greenwood Press, 1983.

Pesce, Dolores. The Affinities and Medieval Transposition. Bloomington: Indiana University Press, 1987.

Rankin, Susan. The Music of the Medieval Liturgical Drama in France and in England. New York: Garland Publishing, 1989.

Smoldon, William L. The Music of the Medieval Church Dramas. London: Oxford University Press, 1980.

Chapter 4 Music of Feudalism and Fin’ Amors

Bergin, Thomas G., ed. Anthology of the Provcençal Troubadours. 2nd ed., New Haven: Yale University Press, 1974.

Chickering, Howell, and Margaret Switten, eds. The Medieval Lyric: Commentary Volume. South Hadley, Mass.: Mount Holyoke College Press, 1988.

Crane, Frederick. Extant Medieval Musical Instruments. Iowa City: University of Iowa Press, 1972.

Dronke, Peter. The Medieval Lyric. London: Hutchinson & Co., 1968.

Page, Christopher. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France, 1100–1300. Berkeley and Los Angeles: University of California Press, 1986.

Stevens, John. Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350. Cambridge: Cambridge University Press, 1986.

Werf, Hendrik van der. The Chansons of the Troubadours and Trouvères: A Study of the Melodies and Their Relation to the Poems. Utrecht: A. Oosthoek, 1972.

Chapter 5 Polyphony in Practice and Theory

Bonderup, Jens. The Saint Martial Polyphony: Texture and Tonality. Copenhagen: Dan Fog, 1982.

Karp, Theodore C. The Polyphony of Saint Martial and Santiago de Compostela. Berkeley and Los Angeles: University of California Press, 1992.

Chapter 6 Notre Dame de Paris

Falck, Robert. The Notre Dame Conductus: A Study of the Repertory. Henryville, Pa.: Institute of Medieval Music, 1981.

Johannes de Garlandia, Concerning Measured Music, trans. Stanley H. Birnbaum. Colorado Springs: Colorado College Music Press, 1979.

Wright, Craig. Music and Ceremony at Notre Dame of Paris, 500–1500. Cambridge: Cambridge University Press, 1990.

Yudkin, Jeremy. The Music Treatise of Anonymous I: A New Translation. Rome: American Institute of Musicology, 1985.

Chapter 7 Music for an Intellectual and Political Elite

Boorman, Stanley, ed. Studies in the Performance of Late Mediaeval Music. Cambridge: Cambridge University Press, 1984.

Chapter 8 Business Math, Politics, and Paradise: The Ars Nova

Berger, Karol. Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto of Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987.

Ellsworth, Oliver B. The Berkeley Manuscript: A New Critical Text and Translation. Lincoln: University of Nebraska Press, 1984.

Chapter 9 Machaut and His Progeny

Apel, Willi. French Secular Music of the Late Fourteenth Century. Cambridge, Mass.: Mediaeval Academy of America, 1950.

Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. Oxford: Oxford University Press, 1990.

Reaney, Gilbert. Guillaume de Machaut. London: Oxford University Press, 1971.

Tomasello, Andrew. Music and Ritual at Papal Avignon, 1309–1403. Ann Arbor, Mich.: UMI Research Press, 1983.

Wilkins, Nigel. Music in the Age of Chaucer. Cambridge: Brewer, 1979.

Chapter 10 “A Pleasant Place”: Music of the Trecento

Pirrotta, Nino. Music and Culture in Italy from the Middle Ages to the Baroque. Cambridge: Harvard University Press, 1984.

Chapter 11 Island and Mainland

Bent, Margaret. Dunstaple. London: Oxford University Press, 1981.

Fallows, David. Dufay. London: J. M. Dent, 1982.

Kaye, Philip. The Sacred Music of Gilles Binchois. London: Oxford University Press, 1992.

Kemp, Walter H. Burgundian Court Song in the Time of Binchois: The Anonymous Chansons of El Escorial, MS V.III.24. Oxford: Clarendon Press, 1990.

Kenney, Sylvia. Walter Frye and the Contenance Angloise. New Haven: Yale University Press, 1964.

Kirkman, Andrew, and Dennis Slavin. Binchois Studies. New York: Oxford University Press, 2001.

Lefferts, Peter. The Motet in England in the Fourteenth Century. Ann Arbor, Mich.: UMI Research Press, 1986.

Rankin, Susan, and David Hiley. Music in the Medieval English Liturgy: Plainsong & Medieval Music Society Centennial Essays. Oxford: Clarendon Press, 1993.

Chapter 12 Emblems and Dynasties

Aaron, Pietro. Toscanello in musica, trans. Peter Bergquist. Colorado Springs: Colorado College Music Press, 1970.

Atlas, Allan. Music at the Aragonese Court of Naples. Cambridge: Cambridge University Press, 1985.

Cohen, Judith. The Six Anonymous L’homme armé Masses in Naples, Biblioteca Nazionale, MS VI E 40. Stuttgart: American Institute of Musicology, 1981.

D’Accone, Frank A. The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago: University of Chicago Press, 1997.

Hamm, Charles. A Chronology of the Works of Guillaume Dufay Based on a Study of Mensural Practice. Princeton: Princeton University Press, 1964.

Higgins, Paula, ed. Antoine Busnoys: Methods, Meaning, and Context in Late Medieval Music. Oxford: Clarendon Press, 1997.

Lockwood, Lewis. Music in Renaissance Ferrara, 1400–1505. Cambridge: Harvard University Press, 1985.

Reynolds, Christopher. Papal Patronage and the Music of St. Peter’s, 1380–1513. Berkeley and Los Angeles: University of California Press, 1995.

Sparks, Edgar H. Cantus Firmus in Mass and Motet, 1420–1520. Berkeley and Los Angeles: University of California Press, 1963.

Strohm, Reinhard. Music in Late Medieval Bruges. Rev. ed., Oxford: Clarendon Press, 1990.

Tinctoris, Johannes. The Art of Counterpoint, trans. and ed. Albert Seay. Rome: American Institute of Musicology, 1961.

Wegman, Rob. Born for the Muses: The Life and Masses of Jacob Obrecht. Oxford: Clarendon Press, 1994.

Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge: Harvard University Press, 2004.

——. Music at the Court of Burgundy, 1364–1419. Henryville, Pa.: Institute of Medieval Music, 1979.

Chapter 13 Middle and Low

Brown, Howard Mayer. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229. Chicago: University of Chicago Press, 1983.

Cumming, Julie E. The Motet in the Age of Du Fay. Cambridge: Cambridge University Press, 1999.

Finscher, Ludwig. Loyset Compère (c. 1450–1518): Life and Works. Rome: American Institute of Musicology, 1964.

Harrán, Don. Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century. Stuttgart: American Institute of Musicology, 1986.

Krummel, Donald W., and Stanley Sadie, eds. Music Printing and Publishing. New York: Norton, 1990.

Pesce, Dolores, ed. Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. London: Oxford University Press, 1996.

Polk, Keith. German Instrumental Music of the Late Middle Ages: Players, Patrons, and Performance Practice. Cambridge: Cambridge University Press, 1992.

Woodfield, Ian. The Early History of the Viol. Cambridge: Cambridge University Press, 1984.

Chapter 14 Josquin and the Humanists

Elders, Willem, and Frits De Haen, eds. Proceedings of the International Josquin Symposium, Utrecht 1986. Amsterdam: Vereiniging voor Nederlandse Muziekgeschiedenis, 1991.

Glareanus. Dodecachordon, trans. Clement Miller. Rome: American Institute of Musicology, 1965.

Lowinsky, Edward, and Bonnie J. Blackburn, eds. Josquin des Prez: Proceedings of the International Festival-Conference Held at The Juilliard School at Lincoln Center in New York City, 22–25 June 1971. London: Oxford University Press, 1976.

Sherr, Richard, ed. The Josquin Companion. New York: Oxford University Press, 2001.

Chapter 15 A Perfected Art

Benham, Hugh. Latin Church Music in England, c. 1460–1575. London: Barrie & Barrie, 1975.

Blackburn, Bonnie J., Clement Miller, and Edward Lowinsky. A Correspondence of Renaissance Musicians. Oxford: Oxford University Press, 1991.

Brown, Howard Mayer. Embellishing Sixteenth-Century Music. London: Oxford University Press, 1976.

Carver, Anthony F. “Cori spezzati”: The Development of Sacred Polychoral Music to the Time of Schütz. Cambridge: Cambridge University Press, 1988.

Crane, Frederick. Materials for the Study of the Fifteenth-Century Basse Danse. Brooklyn: Institute of Mediaeval Music, 1968.

Josephson, David S. John Taverner: Tudor Composer. Ann Arbor, Mich.: UMI Research Press, 1979.

Lowinsky, Edward. Secret Chromatic Art of the Netherlands Motet. New York: Columbia University Press, 1946.

Meier, Bernhard. The Modes of Classical Vocal Polyphony, trans. Ellen S. Beebe. New York: Broude Bros., 1988.

Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition, 1450–1600. Oxford: Clarendon Press, 1996.

Slim, H. Colin. Musica Nova. Chicago: University of Chicago Press, 1964.

Stevens, Denis. Tudor Church Music. New York: Merlin Press, 1955; Reprint, New York: Norton, 1966.

Warren, Edward B. Life and Works of Robert Fayrfax, 1464–1521. Rome: American Institute of Musicology, 1969.

Wulstan, David. Tudor Music. Iowa City: University of Iowa Press, 1986.

Zarlino, Gioseffo. The Art of Counterpoint, trans. Guy A. Marco and Claude V. Palisca. New Haven: Yale University Press, 1968.

Chapter 16 The End of Perfection

Andrews, H. K. Technique of Byrd’s Vocal Polyphony. London: Oxford University Press, 1964.

Brown, Alan, and Richard Turbet. Byrd Studies. Cambridge: Cambridge University Press, 1992.

Doe, Paul. Tallis. London: Oxford University Press, 1968.

Fellowes, Edmund H. William Byrd. London: Oxford University Press, 1948.

Holst, Imogen. Byrd. London: Faber and Faber, 1972.

Jeppesen, Knud. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century, trans. Glen Haydon. New York: Prentice-Hall, 1939; Reprint, New York: Dover, 1992.

——. The Style of Palestrina and the Dissonance. Oxford: Oxford University Press, 1927.

Kerman, Joseph. The Masses and Motets of William Byrd. Berkeley and Los Angeles: University of California Press, 1981.

Le Huray, Peter. Music and the Reformation in England: 1549–1660. New York: Oxford University Press, 1967.

Lockwood, Lewis. The Counter Reformation and the Masses of Vincenzo Ruffo. Vienna: Universal Edition, 1970.

——. Palestrina: Pope Marcellus Mass. New York: Norton, 1975.

Phillips, Peter. English Sacred Music: 1549–1649. Oxford: Gimell, 1991.

Roche, Jerome. Palestrina. Oxford: Oxford University Press, 1971.

Stevenson, Robert. Spanish Cathedral Music in the Golden Age. Berkeley and Los Angeles: University of California Press, 1961.

Temperley, Nicholas. The Music of the English Parish Church. Cambridge: Cambridge University Press, 1979.

Woodfill, Walter. Musicians in English Society from Elizabeth to Charles I. Rev. ed., Princeton: Princeton University Press, 1969.

Chapter 17 Commercial and Literary Music

Arnold, Denis. Marenzio. London: Oxford University Press, 1965.

——. Monteverdi Madrigals. London: British Broadcasting Corporation, 1967.

Bernstein, Jane A. Music Printing in Renaissance Venice: The Scotto Press (1539–1572). New York: Oxford University Press, 1998.

Brown, David. Thomas Weelkes: A Biographical and Critical Study. New York: Praeger, 1969.

——. Wilbye. London: Oxford University Press, 1974.

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge: Harvard University Press, 1963.

Cardamone, Donna G. The Canzone villanesca alla napolitana and Related Forms, 1537–1570. Ann Arbor, Mich.: UMI Research Press, 1981.

Carter, Tim. Music in Late Renaissance and Early Baroque Italy. Portland, Oreg.: Amadeus Press, 1992.

Cazeaux, Isabelle. French Music in the Fifteenth and Sixteenth Centuries. New York: Praeger, 1975.

Cusick, Suzanne. Valerio Dorico: Music Printer in Sixteenth-Century Italy. Ann Arbor, Mich.: UMI Research Press, 1981.

Cuyler, Louise. The Emperor Maximilian I and Music. London: Oxford University Press, 1973.

Einstein, Alfred. The Italian Madrigal. Three vols., trans. Alexander H. Kruppe, Roger H. Sessions, and Oliver Strunk. Princeton: Princeton University Press, 1949; Reprint, 1971.

Feldman, Martha. City Culture and the Madrigal at Venice. Berkeley and Los Angeles: University of California Press, 1995.

Fenlon, Iain. Music and Patronage in Sixteenth-Century Mantua. Two vols. Cambridge: Cambridge University Press, 1980–82.

Haar, James. Essays on Italian Poetry and Music in the Renaissance, 1350–1600. Berkeley and Los Angeles: University of California Press, 1986.

Haar, James, ed. Chanson and Madrigal, 1480–1530. Cambridge: Harvard University Press, 1964.

Heartz, Daniel. Pierre Attaingnant, Royal Printer of Music. Berkeley and Los Angeles: University of California Press, 1969.

Kerman, Joseph. The Elizabethan Madrigal: A Comparative Study. New York: American Musicological Society, 1962.

Lesure, François. Musicians and Poets of the French Renaissance, trans. Elia Gianturco and Hans Rosenwald. New York: Merlin Press, 1955.

Lewis, Mary S. Antonio Gardano, Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study. New York: Garland Publishing, 1988.

Lowinsky, Edward. Tonality and Atonality in Sixteenth-Century Music. Berkeley and Los Angeles: University of California Press, 1962.

MacClintock, Carol. Giaches de Wert (1535–1596): Life and Works. Rome: American Institute of Musicology, 1966.

Maniates, Maria Rika. Mannerism in Italian Music and Culture, 1530–1630. Durham: Duke University Press, 1979.

Morley, Thomas. A Plain and Easy Introduction to Practical Music, ed. R. Alec Harman. New York: Norton, 1973.

Neighbour, Oliver. The Consort and Keyboard Music of William Byrd. Berkeley and Los Angeles: University of California Press, 1979.

Newcomb, Anthony. The Madrigal at Ferrara, 1579–1597. Princeton: Princeton University Press, 1980.

Pogue, Samuel. Jacques Moderne. Lyons: Droz, 1969.

Poulton, Diana. John Dowland: His Life and Works. Berkeley and Los Angeles: University of California Press, 1972.

Prizer, William F. Courtly Pastimes: The Frottole of Marchetto Cara. Ann Arbor, Mich.: UMI Research Press, 1980.

Roche, Jerome. Lassus. London: Oxford University Press, 1982.

——. The Madrigal. 2nd ed., New York: Scribner’s, 1990.

Rubsamen, Walter. Literary Sources of Secular Music in Italy (c. 1500). Berkeley and Los Angeles: University of California Press, 1943.

Spinks, Ian. English Song: Dowland to Purcell. Rev. ed., London: Batsford, 1986.

Stevenson, Robert. Spanish Music in the Age of Columbus. The Hague: Martinus Nijhoff, 1960.

Watkins, Glenn. Gesualdo: The Man and His Music. Chapel Hill: University of North Carolina Press, 1973.

Chapter 18 Reformations and Counter-Reformations

Arnold, Denis. Giovanni Gabrieli. Oxford: Oxford University Press, 1974.

——. Giovanni Gabrieli and the Music of the Venetian High Renaissance. Oxford: Oxford University Press, 1979.

Blume, Friedrich, Protestant Church Music: A History. New York: Norton, 1974.

Daniel-Rops, Henri. The Catholic Reformation, trans. John Warrington. London: J. M. Dent, 1962.

Garside, Charles, Jr. Zwingli and the Arts. New Haven: Yale University Press, 1966.

Nettl, Paul. Luther and Music. Philadelphia: Muhlenberg Press, 1948.

Schalk, Carl. Luther on Music: Paradigms of Praise. St. Louis, Mo.: Concordia, 1988.

Scribner, Bob, Roy Parker, and Mikuláš Teich, The Reformation in National Context. Cambrdige: Cambridge University Press, 1994.

Stevenson, Robert. Patterns of Protestant Church Music. Durham: Duke University Press, 1953.

Chapter 19 Pressure of Radical Humanism

Berger, Karol. Theories of Chromatic and Enharmonic Music in Late Sixteenth-Century Italy. Ann Arbor, Mich.: UMI Research Press, 1980.

Hanning, Barbara Russano. Of Poetry and Musics Power: Humanism and the Creation of Opera. Ann Arbor, Mich.: UMI Research Press, 1980.

Joyce, John J. The Monodies of Sigismondo d’India. Ann Arbor, Mich.: UMI Research Press, 1981.

Nagler, Alois Maria. Theatre Festivals of the Medici, 1539–1637. New Haven: Yale University Press, 1964.

Palisca, Claude V. Humanism in Italian Renaissance Musical Thought. New Haven: Yale University Press, 1985.

Strong, R. Art and Power: Renaissance Festivals, 1450–1650. Rev. ed., Woodbridge, Suffolk: Boydell Press, 1999.

Vicentino, Nicola. Ancient Music Adapted to Modern Practice, trans. Maria Rika Maniates. New Haven: Yale University Press, 1996.

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