- ness in the 19th century), and set forth the principles of counterpoint in its
higher and more intricate applications, with numerous illustrative examples.
Antonius Gogavinus, a Flemish physician in Venice, deserves special mention as the first editor of important Greek treatises (1552).
Franciscus Salinas (d. 1590), court-organist at Naples from 1558 and later of Salamanca (Spain), issued in 1577 a finely written treatise in which musical rhythm is discussed in relation to rhythm in poetry, aiming to develop the ancient theories as the author understood them.
Vincenzo Galilei of Florence (d. c. 1600), in his zeal for a return to the dramatic monody of the Greeks, published several works against Zarlino (1581-9) in connection with the memorable Florentine movement, besides an earlier book on lute-playing (1568).
William Bathe (d. 1614), an Irish Jesuit of Salamanca, is known from a handbook (1584) in which, among other things, the octave is accepted in place of the hexachord as the norm of scales.
Giovanni Maria Artusi of Bologna (d. 1613), an industrious but highly conservative writer, issued extensive works (1586-1603) in which he vainly strove to check the tendencies away from the strict counterpoint of the old school.
Cyriak Schneegass of Friedrichsroda (d. 1597) was a somewhat useful writer of small text-books (1590-2), the first of which was the earliest printed work on the monochord.
Sethus Calvisius (d. 1615), from 1582 the distinguished cantor at Schulpforta (near Naumburg) and from 1594 at Leipsic, issued several able books (1592-1612), one of which contains an advocacy of bocedization, while part of another is devoted to a genuine history of music. He was useful in directing thought into harmonic channels.
Lodovico Zacconi of Venice (d. 1627), also for a time in court service at Vienna and Munich, published in two widely separated parts (1592, 1622) a celebrated treatise on contrapuntal composition, including a valuable account of instruments.
Ercole Bottrigari of Ferrara and Bologna (d. 1612), an erudite classical scholar, wrote three elaborate works (1593-1602) designed to combat views held by various friends about harmonic questions, the third reasserting Vicentino's contention about chromatic tones. He also left in MS. extensive other writings, including translations of ancient authors and a work on the theatre.
Girolamo Diruta (d. after 1612) issued in two parts (1593, 1609) an elaborate discussion of organ-playing—an indication of the advance in that branch of music.
Thomas Morley (d. c. 1602), the noted madrigalist, shares with Bathe the honor of leading the way in England with a general theoretical work (1597) which exerted a wide influence.
Cyriak Spangenberg of Strassburg (d. 1604) is to be remembered for an important MS. work on the Meistersinger (1598), which was first published in 1861.
