Practica musicae (Gaffurius, Franchinus)

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First Publication 1496
Genre Categories Music history; Writings; Music theory; Latin language

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 Complete Book
#113600 - 45.94MB, 226 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 1691×⇩ - Feduol

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Editor First edition
Publisher. Info. Milan: Gulielmum signer Rothomagensem, 1496.
Copyright
Public Domain [tag/del]
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 Complete Book
#113672 - 27.98MB, 233 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 667×⇩ - Feduol

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⇒ 5 more: Liber I • Liber II • Liber III • Liber IV, capitula 1-7 • Liber IV, capitula 7-15

 Liber I
#77784 - 26.18MB, 26 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 778×⇩ - Miwarre

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 Liber II
#77785 - 22.15MB, 21 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 305×⇩ - Miwarre

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 Liber III
#77792 - 15.66MB, 16 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 331×⇩ - Miwarre

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 Liber IV, capitula 1-7
#77793 - 23.02MB, 26 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 296×⇩ - Miwarre

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 Liber IV, capitula 7-15
#77794 - 21.70MB, 24 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 269×⇩ - Miwarre

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Editor Third edition
Publisher. Info. Brescia: B. Misinta - A. Britannico, 1502.
Copyright
Public Domain [tag/del/mrg]
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 Complete Book
#113588 - 56.12MB, 192 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 322×⇩ - Feduol

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Publisher. Info. Venice: Agostino Zani, 1512.
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Public Domain [tag/del]
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 Complete Books
#113685 - 11.32MB, 222 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 368×⇩ - Feduol

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Publisher. Info. Venice: Agostino Zani, 1508.
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Public Domain [tag/del]
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 Complete Books
#113688 - 10.46MB, 164 pp. -  0.0/10 2 4 6 8 10 (-) - V/V/V - 251×⇩ - Feduol

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General Information

Work Title Practica musicae
Alternative. Title Practica musicae utriusque cantus
Composer Gaffurius, Franchinus
I-Catalogue NumberI-Cat. No. None [force assignment]
First Publication. 1496
Language Latin
Composer Time PeriodComp. Period Renaissance
Piece Style Renaissance

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According to Grove Music, this includes "a discussion of Ambrosian chant . . . Book 2, on notation, includes sections on poetic feet as related to musical rhythm and a survey of notation, beginning with Greek rhythmic symbols. The book on counterpoint is quite brief, laying stress on rules; unlike Tinctoris's treatise it addresses the composer more than the singer. Book 4, on proportions, seems intended to outdo Tinctoris, with proportions as abstruse as 19:4 illustrated in musical examples."

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