"Per reverendissimum in Christo patrem, et amplissimum principem, ac dominum, Dominum VVolfgangum, Archiepiscopum Moguntinum, S. Romani Imperii per Germaniam Archicancellarium, Principem Electorem, &c. Necessariis quibusdam additionibus auctior, et multis locis emendatior, iam denuò typis evulgata." Text in Latin and German, including tables, calendars, and a catechism in German, along with notated music. Two of the back end pages have handwritten notes, including a handwritten rendering of Psalm 129/130 ("De profundis clamavi...").

Agenda ecclesiae from the Catholic archdiocese of Mainz. This extensive volume includes calendars for movable feasts, a daily listing of feast days for commemoration, days for fasting and abstinence from eating meat, and instructions for priests on administering the sacraments, texts of various blessings and prayers, with text in Latin and German. The volume includes notated musical settings, and a catechism in German.

1611 edition of the Book of Common Prayer, with psalms. The psalms include incipits in Latin, and occasional notated settings, along with the traditional canticles (Benedictus, Magnificat, Nunc Dimmitis) for morning, evening, and night prayer, Te Deum, the Athanasian Creed, and other hymns and prayers.

A music theory treatise by Marin Mersenne, concerned with the nature of sound and its consequences for how music is constructed.

Liturgical chant pages used as binding for another work with a partially legible German title. Chant appears upside-down on the front cover; the first line, "...nt ga est flos filius" matches the text of Stirps Jesse. It is followed by a doxology (Gloria Patri) including some abbreviated text, and then the text of Veni in hortum meum soror, associated with Matins for the Assumption of Mary. The back cover has an upside-down portion, "dominus in suis virtutibus vincula manuum relaxavit suamque famulam de morte," which is associated with Lauds for the feast of St. Margaret of Antioch. The remainder contains notated chant for Vespers for the feast of St. Michael and All Angels (domine deus noster accipere librum et aperire signacula ejus), and from Matins for the same feast, with the text from Angelorum regi deo jubilemus pariter, then from Introibo in domum tuam domine, and finally the beginning of Stetit angelus juxta aram templi.

Contents: I. I. Aristoxeni Harmonicorvm elementorvm libri III. II. Evclidis [i.e. Cleonidae?] Introdvctio harmonica. Euclidis Sectio canonis. III. Nicomachi Geraseni, Pythagorici, Harmonices manvale. IV. Alypii Introdvctio mvsica. V. Gavdentii, philosophi, Introdvctio harmonica. VI. Bacchii senioris Introdvctio artis mvsicæ.--v. II. Aristidis Qvintiliani De mvsica libri III. & Martiani Capellæ De mvsica liber IX.

"Prodromus Musicalis" (published in 1702) is bound, here, with "Motets à une et deux voix, mélez de symphonies, livre premier" (1704); thus, the latter gate is used for this item as a unit. Both sets of motets consist of Latin-texted music preceded by a title page in French. A Table of Contents either at the front or back of each collection describes the motets contained therein. Content is printed on both sides of each leaf. "Prodromus" also has a note from Brossard informing the reader that a Dictionary of Music, published at the same time as "Prodomus," contains French translations of Italian, Greek, and Latin terms, knowledge of which is vital to the understanding and performance of the present music. The contents of "Prodromus" are as follows: "Ave vivens hostia," "O Jesu quam dulce," "Congratulamini filiae Sion," "O vos aetherei," "Festivi martyres" "Angele sancte" "Sonitus armorum," "Quemadmodum desiderat," and "O plenus irarum dies." "Motets à une et deux voix" contains the following pieces: "Venite exultemus," "Gaudete Mortales," "Ad mensam caelitus paratam," "Ave Regina coelorum," "Animae Amantes ad Deum esurientes," "Ite gemmae, Ite flores," "Anxiatus est super me spiritus meus," "Festivi Martyres, festivae Virgines," "Nisi Dominus aedificaverit domum."

A music theory book, giving basic instructions for singing scales, intervals and chants.

Bound compilation of sheet music from a variety of composers, with multiple works from Giuseppe Verdi, M.W. Balfe, and Gaetano Donizetti. This volume is held by Duke University, and is posted here in conjunction with the Binders Volumes Research Initiative, a project funded by a grant from the National Endowment for the Humanities - Humanities Collections and Reference Resources (PW-290538-23).

Bound compilation of sheet music, collected by Florence B. Paulson. This volume consists primarily of ballads and love songs, most of which were published in Philadelphia, New York, and Boston.

The present volume is a 1875 compendium of various Latin music treatises by Johannes Tinctoris gathered from manuscript sources from Brussels, Bologna and Gand. The present edition, edited by Charles Coussemaker, comprises ten of the twelve surviving manuscripts of Tinctoris's theoretical works. According to Oxford Music, these were written in the first few years of his employment at Ferrante's court and demonstrate Tinctoris's intellectual and pedagogical mastery of music theory. They also demonstrate his acquaintance with contemporaneous composers of the early Renaissance Burgundian composers like Antoine Busnoys, as well as with the music of Franco-Flemish composers such as Johannes Ockeghem. Below is a table of content listing the titles of each treatise and a brief description of the concepts they treat. Treatises and Description: "Expositio manus" - this treatise is divided in 10 chapters consisting of: definitions, places, clefs, voicing, properties, deductions, mutations, conjunctions, conclusion; "Liber de natura et proprietate tonorum" - this treatise is divided in 51 chapters containing: definitions and name of tones, concerning the species diatessaron and diapente, formation of first throughout the eighth tone, authentic and plagal modes, ascending and descending perfect/imperfect tones; "Tractatius de notis et pausi" - this treatise is divided in two books. …

Written for and dedicated to Mr. P. Gleason, tenor of the Cathedral "Holy Name" Chicago, Ill. Publisher number L.B. 53=5. Text setting has Ave Maria in Latin, and "Saviour Divine" in English.

To the Rev. Charles H. Eaton D.D. Publisher number L.B. 55=7. Cover engraving depicts the church at Fifth Avenue and 45th St.

Cover copyright dates 1887 and 1894. Colophon copyright dates 1888 and 1908. Publisher number L.B. 54 = 5.

Liber responsorialis from the Solesmes Abbey, including chant settings for first-class feast days, hymns and the Divine Office.

"Contralto or barytone with violin obligato (ad lib)." "Respectfully dedicated to Mrs. Henry Murray." Publisher number B.M. Cp 333-4 & 1.

Berge Edition Catholique. Publisher number B.M. Co. 394-6.

Op. 25. No. 1, for soprano or tenor with violin obligato. Publisher number B.M.Co.390-4 1/2. Violin part included.

Sacred Quartet in E and C with solos for soprano & bass by Louis Berge. Op. 27. Berge Edition Catholique. Publisher number B.M. Co. 392-7. Stamped J. Fischer & Bro. 7, 8, 10 & 11 Bible House, N.Y. Teller, Sons & Dorner, New-York.

No. 1 in C, for soprano or tenor. Op. 29. Berge Edition Catholique. Publisher number B.M. Co. 403-5.Teller, Sons & Dorner, New-York.

To Miss Emma Estella Potts. Publisher number L.B. 147-5. Hounslow N.Y.

None

No. 3. Publisher number B. M. Co. 424-10.

Illegible inscription dated October 16, 1907