Clarissima plane atq𝔷 choralis || musice interpretatio Dñi Bal||thasser Praspergij Merspurgeñ. cū || certissimis regulis atq𝔷 Exēploꝝ Ano||tacionibꝰ & figuris multū splēdidis || Jn Alma Basileorum vniuersitate || exercitata.|| [woodcut] ||

Finis musices ex Orphei lyra et || Saphus cythara manate atq𝔷 per venerabi⸗||lem dñm Balthasser praspergiu𝔷 Merspur⸗||geñ. In nobili ac preclaro Basileorum stu⸗||dio proceltico: diligentia exactissima exami||nate. Rogatu tandem auditorum per proui||dum virum Michaelem Furter Ciuē Basi||lieñ Impresse. Anno xp̃iane salutis suꝑ Mil||lesimum quingentesimo primo.||

Basel

Theory book

Printed specifically for Basel University (as noted on title page). There are two editions of this book published in the same year by the same printer. There are minor variations between these editions in the title page.

A2r-A2v: In musices artis laudem || modica prefacio.|| (preface)

The title woodcut shows an image of lady musica with a harp on the right. On the left there is a teacher pointing to solmisation syllables in a banderole on the top (94 x 103 mm).

Latin

None

D-Mbs Mus.th. 1257

D-Mbs, US-Wc

woodcut

Rotunda, Textura

The first chapters include shorter music examples included in the running text. The first music example (A8v) measures 34 x 12 mm. The text is set in Rotunda, while Textura is used as a display font.

Hufnagel notation

full-length staff (B8v, first staff): 97.5 x 12.5 mm

example in theory book

Musical examples for modes, intervals.

B-Bc, D-BAs, D-FRu, *D-Mbs, D-MÜp, D-MÜu, F-Pc, GB-Ge, I-Bc, US-Cn, US-Wc

The book is also listed in the 1548 Bibliography by Gesner (see Bernstein).

Basel: Michael Furter, 1501, vdm: 638

Bernstein, Lawrence F. “The Bibliography of Music in Conrad Gesner's Pandectae (1548).” Acta Musicologica 45 (1973): 119-163 (no. 66)
Giselbrecht, Elisabeth, and Elizabeth Savage. “Printing Music: Technical Challenges and Synthesis, 1450–1530,” in Early Music Printing in German-Speaking Lands, ed. Andrea Lindmayr-Brandl, Elisabeth Giselbrecht and Grantley McDonald. London: Routledge, 2018: 84–99. (91)