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Aaron [or Aron], Pietro
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Description
Toscanello in Musica ... Nuovamente Sta[m]pato con la Gionta da lui fatta [e] con diligentia corretto. Venice: Melchior Sessa, 19 March 1539
Small folio (268 x 190 mm). [72] pp. Woodcut title-border with scrolls and dolphins, Sessa's cat-and-mouse device on title, full-page woodcut on verso showing the author seated above his pupils, with a lute, violin and recorder on a table in the foreground, decorative and figurated woodcut initials, printed music, tables and diagrams ; tear repaired in f. C1, some waterstains at beginning, title shaved at lower edge. 18th-century mottled sheep, spine gilt, marbled endpapers, red edges; extremities quite scuffed.
Small folio (268 x 190 mm). [72] pp. Woodcut title-border with scrolls and dolphins, Sessa's cat-and-mouse device on title, full-page woodcut on verso showing the author seated above his pupils, with a lute, violin and recorder on a table in the foreground, decorative and figurated woodcut initials, printed music, tables and diagrams ; tear repaired in f. C1, some waterstains at beginning, title shaved at lower edge. 18th-century mottled sheep, spine gilt, marbled endpapers, red edges; extremities quite scuffed.
Provenance
The Ammirati (?) family of Florence (engraved armorial bookplate) — Francesco Guaschi, Marquis of Bisio (engraved armorial bookplate)
Literature
Mortimer Italian 1; Sander 625; IA 100.052; EDIT 16, A-3073; Eitner I, p. 22, no.3
Catalogue Note
The best general treatise on musical practice, especially counterpoint, in the period before Zarlino. Aaron (c. 1489–1545) was the first to report the shift from successive to simultaneous composition, reflected in the woodcut diagrams of chords constructed in four parts in this book. Its text was first printed at Venice in 1523 and reprinted there in 1529 with additions concerning the natural and the sharp in plainsong. The present edition is the corrected reprint of the 1529 edition, with the same illustrations.