Heinrich Loriti [Glarean, from his birthplace in Switzerland] of Cologne, Basle and Freiburg (d. 1563), published two works (1515, '47), the second of which, the Dodecachordon, contains his noted contention that the whole fabric of mediaeval music rests upon 12 modes instead of 8, as ordinarily taught, with many examples cited from leading composers—the whole set forth with acumen and clearness. This work was epitomized by his step-son Wonnegger in 1557. Glarean also edited the works of Boethius (1570).
Andreas Ornithoparchus, an extraordinary traveler, is known by his excellent general treatise (1517), which Dowland translated into English (1609).
Martin Agricola of Magdeburg (d. 1556) by a series of works (1528-45) achieved a unique reputation as a scholar, the first being a masterly account of all kinds of instruments, and the others discussions of theory and notation. He also edited collections of Protestant music. With him worked Georg Rhaw (d 1548), the enterprising Wittenberg publisher, who himself issued a theoretical handbook (1518).
Sebald Heyden of Nuremberg (d. 1561) issued important treatises on mensural music (1532,'37), besides psalms and a Passion.
Ludovico Fogliani of Rome (d. 1539) was a careful student of ancient musical writings, and is notable for a work (1529) in which the major third is correctly fixed with the ratio 5:4, as against the prevalent Pythagorean theory, with other useful acoustical distinctions. (Cf. Ramis above.)
Names of less significance are Hans Judenkunig of Vienna (d. 1526), with a text-book for the lute(1523); Stefano Vanneo of Ascoli (1533); Matheo de Aranda of Portugal (1533); Silvestro di Ganassi of Venice, with methods for the flûte-à-bec, viola and violone (1535-43); Antonio Francesco Doni (d. 1574), a cultivated Florentine, author of two books (1544-50), the second of which is a valuable bibliography of Italian musical books and MSS.; Heinrich Faber of Naumburg (d. 1552), with very popular handbooks (1548-50), the earlier of which was expanded by Gumpeltzhaimer of Augsburg (1591) and by Vulpius of Weimar (1610); Juan Bermudo of Portugal, on instruments (1549); Adrian Petit Coclicus of Wittenberg and Nuremberg (d. 1563), pupil of Des Près and ex-member of the Papal Chapel (1552); and Hermann Finck (d. 1558) of Wittenberg (1556).
Nicolò Vicentino, a pupil of Willaert in the service of the Este family at Ferrara and Rome, in his enthusiasm over the revival of the Greek chromatic and enharmonic genera, was opposed by the Portuguese Vicente Lusitano (1551), and, though unsuccessful in a public debate, defended his views in a book (1555) and by the invention of the complicated 'archicembalo,' thus helping forward the reaction against the older diatonic theory of the modes. The chief arbiter of the debate was Ghiselin Danckerts, a Netherlander in the Papal Chapel, who left a written opinion (1551), which about a half-century later was indorsed by Artusi (see below).
Gioseffo Zarlino (d. 1590), the Venetian composer and choirmaster (see sec. 56), was altogether the greatest theorist of the age. His works (1558-88) for the first time wrought out the distinction between the major and the minor as two complementary types of harmonic structure (developed with great full-
