PART I: THE HERITAGE OF ANTIQUITY. 1. Orpheus and the Magical Powers of Music (Ovid). 2. Pythagoras and the Numerical Properties of Music (Nicomachus). 3. Plato''s Musical Idealism. 4. Aristotle on the Purposes of Music. 5. The Kinship of Music and Rhetoric (Quintilian). 6. Music in Temple and Synagogue: The Judaic Heritage (Bible, Philo of Alexandria). 7. Music in the Christian Churches of Jerusalem, c. A.D. 400 (Egeria). PART II: THE MIDDLE AGES. 8. The Church Fathers on Psalmody and on the Dangers of Unholy Music (St. Basil, St. John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun). 9. The Testimony of St. Augustine. 10. The Transmission of the Classical Legacy (Boethius, Shakespeare). 11. Music as a Liberal Art (Scholia enchiriadis). 12. Before Notation (Isidore of Seville, St. Augustine, John the Deacon, Notker Balbulus, Costumal of St. Benigne). 13. Embellishing the Liturgy (Notker Balbulus, Ethelwold). 14. Musical Notation and Its Consequences (Odo of Cluny, Guido of Arezzo, Chaucer). 15. Music in Courtly Life (Raimbaut de Vaqueiras, Roman de la rose). 16. The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Prüm, Giraldus Cambrensis, Anon. IV, John of Salisbury). 17. The Forms and Practices of Music, c. 1300 (Johannes de Grocheo, Aegidius of Murino). 18. The First Musical Avant-Garde (Jean de Muris, Jacobus of Liège, John XXII, motet and madrigal texts). 19. The Life of Francesco Landini (Filippo Villani). 20. A Letter from Guillaume de Machaut. PART III: THE RENAISSANCE. 21. The "Fount and Origin" (Martin Le Franc, Tinctoris). 22. Music at Church and State Festivities in the Early Renaissance (Manetti, d''Escouchy). 23. The Triumph of Emperor Maximilian. 24. Music as a Business (Petrucci, Francis I, Tallis and Byrd). 25. Music in Castiglione''s Courtier. 26. Josquin des Prez in the Eyes of His Contemporaries (Glareanus, "Gian," Coclico, Luther). 27. Luther and Music (Luther, Walther, parody texts). 28. The Swiss Reformers (Calvin). 29. The Reformation in England (cathedral injunctions, John Bull). 30. High Renaissance Style (Aron, Zarlino). 31. Willaert the Reformer (Zarlino, Stocker). 32. Music at a Medici Wedding (Giunti). 33. Lasso and Palestrina as Revealed in Their Letters. 34. The Life of the Church Musician (Constitutiones Capellae Pontificae, Zarlino, etc.). 35. The Genres of Music in the High Renaissance (Morley, Cerone, Vicentino). 36. The Counter Reformation (Bishop Franco, Council of Trent, Palestrina, Animuccia, Ruffo, Gregory XIII, Coryat). 37. Palestrina: Fact and Legend (Agazzari, Cresollio, Guidiccioni, Baini, Palestrina). 38. Madrigals and Madrigalism (Mazzone, Zarlino-Morely). 39. Gesualdo, Nobleman Musician (Fontanelli). 40. The Most Musical Court in Europe (Bottrigari, Guistiniani). 41. Music and Dancing as Social Graces (anonymous conversation book, Arbeau, Byrd, Morely, Shakespeare). 42. Renaissance Instrumentalists (Tinctoris, Ventemille, cathedral and municipal documents). 43. Radical Humanism: The End of the Renaissance (Vicentino, Mersenne, Le Jeune, Galilei). PART IV: THE BAROQUE. 44. The Birth of a "New Music" (Caccini). 45. The "Second Practice" (Artusi, Monteverdi). 46. The Earliest Operas (Gagliano, Striggio). 47. Basso Continuo and Figured Bass (Agazzari, Banchieri). 48. From the Letters of Monteverdi. 49. Schütz Recounts His Career. 50. The Doctrine of Figures (Bernhard) 51. Music and Scientific Empiricism (Milton, Bacon). 52. Music in the Churches of Rome, 1639 (Maugars). 53. Music under the Sun King (Pierre Rameau). 54. Rationalistic Distaste for Opera (Corneille, Saint-Évremond, La Bruyère). 55. A New Sound Ideal (Mersenne, La Blanc). 56. The Baroque Sonata (North, Purcell, Couperin). 57. Modern Concert Life is Born (North). 58. The Mature Baroque: The Doctrine of the Affections (Descartes, Mattheson). 59. The Art of Music Reduced to Rational Principles (J.-P. Rameau). 60. The Earliest Musical Conservatories (Burney). 61. Castrato Singers (