![TAPIA, Martin de. Vergel de mvsica spírítual speculatíua y active. Del qual, muchas diversas y soauer flores se puede[n] coger...Tratase lo primero con grande artificio y profundidad, las albanças, las gracias, la dignidad, Las virtudes y prerrogatiuas de la musica y despues, Las artes de Cantollano, Organo y Contra punto, en suma y en Theoria. [Burgos: Diego Fernandez de Cordova, 1570].](https://www.christies.com/img/LotImages/2006/NYR/2006_NYR_01769_0253_000(122635).jpg?w=1)
Details
TAPIA, Martin de. Vergel de mvsica spírítual speculatíua y active. Del qual, muchas diversas y soauer flores se puede[n] coger...Tratase lo primero con grande artificio y profundidad, las albanças, las gracias, la dignidad, Las virtudes y prerrogatiuas de la musica y despues, Las artes de Cantollano, Organo y Contra punto, en suma y en Theoria. [Burgos: Diego Fernandez de Cordova, 1570].
4o (194 x 140 mm). Title-page in red and black with woodcut arms surrounded by passages from psalms mentioning music ("Cantate domino canticum novum" etc). woodcut capitals in the text, sectional titles with architectronic borders, woodcut music notation, woodcut printer's device at end. (Pale dampstains to some margins, title and following leaf with small repaired wormtrack in margin, another small wormhole to margin of last leaf). Spanish hard-grained scarlet morocco, gilt spine).
A COMPLETE COPY OF ONE OF THE RAREST SIXTEENTH-CENTURY MUSIC THEORETICAL TREATISES
Among the numerous dedicatory verses at the beginning of Tapia's treatise are stanzas in which the book and music directly address the reader ("Habla el libro" and Habla la musica"). The book's four chapters are devoted to vocal music. Tapia argues that the art of music, which all may learn, may serve as a form of service to God. The notational signs and their uses are explained and illustrated, as are the Guidonian system, tonality, consonance and dissonance, intervals, the concepts of diapente and diatesseron and counterpoint. Tapia's treatise is of extreme rarity, and only a handful of copies are recorded in the market over the last century. Davidson, p.77; Hirsch I, 570; Palau VII; RISM, Écrits imprimés concernant la Musique, 2: 818-819.
4
A COMPLETE COPY OF ONE OF THE RAREST SIXTEENTH-CENTURY MUSIC THEORETICAL TREATISES
Among the numerous dedicatory verses at the beginning of Tapia's treatise are stanzas in which the book and music directly address the reader ("Habla el libro" and Habla la musica"). The book's four chapters are devoted to vocal music. Tapia argues that the art of music, which all may learn, may serve as a form of service to God. The notational signs and their uses are explained and illustrated, as are the Guidonian system, tonality, consonance and dissonance, intervals, the concepts of diapente and diatesseron and counterpoint. Tapia's treatise is of extreme rarity, and only a handful of copies are recorded in the market over the last century. Davidson, p.77; Hirsch I, 570; Palau VII; RISM, Écrits imprimés concernant la Musique, 2: 818-819.