[*]Ulrich Siegele ( was born in Stuttgart (Germany). He studied musicology, classics, and history mainly at Tübingen University, where he taught musicology as a professor until 1995. His main research interests are the history of compositional techniques, especially the construction of form with regard to duration and functional differentiation (in J. S. Bach, Monteverdi, Schütz, Beethoven, Wagner, and the serial music of the last century) and biography in its historical and political context (J. S. Bach, Telemann). During the last decade he has edited and commented on the two seminal publications of the Stuttgart organist Johann Ulrich Steigleder (1593–1635).

[1] Giovanni Maria Artusi, L’Artusi ouero delle imperfettioni della moderna musica ragionamenti dui.… In Venetia, Appresso Giacomo Vincenti, 1600. Facs. ed. Giuseppe Vecchi (Bologna: Arnaldo Forni Editore, 1968). This facsimile also includes the Seconda parte dell’Artusi ouero delle imperfettioni della moderna musica.… In Venetia, Apresso Giacomo Vincenti, 1603 and Discorso secondo musicale di Antonio Braccino da Todi.…In Venetia, Appresso Giacomo Vincenti, 1608.

[2] Artusi, 1600, Prima parte, fol. A2r–v of the title-sheets. On Pompeo Arigoni see the indices in Ludwig Freiherr von Pastor, Geschichte der Päpste seit dem Ausgang des Mittelalters X (Freiburg im Breisgau: Herder, 1926) and XI–XII (ibid., 1927).

[3] Artusi 1600, Prima parte, fol. A3r–v of the title sheets.

[4] See Pastor, Geschichte der Päpste, 11:587–603.

[5] Giovanni Maria Artusi, L’arte del contraponto, del Rever. D. Gio. Maria Artusi da Bologna … novamente ristampata et di molte nuove aggiunte dal l’auttore arrichita.… In Venetia, Appresso Giacomo Vincenti, 1598. Facs. ed. (Hildesheim: Georg Olms, 1969).

[6] Artusi 1600, Prima parte, fol. A4r of the title sheets.

[7] Discorso secondo musicale di Antonio Braccino da Todi, 6.

[8] Artusi 1600, Prima parte, fol. B1r–v of the title sheets.

[9] Seconda parte dell’Artusi ouero delle imperfettioni della moderna musica.

[10] Claudio Monteverdi, Il quinto libro de madrigali a cinque voci.…In Venetia, Appresso Ricciardo Amadino, MDCV. See Claudio Monteverdi: Il quinto libro de madrigali, A Critical Edition, ed. Karin Jacobsen and Jens Peter Jacobsen (Egtved, Denmark: Edition Egtved, 1985), facs. 6, and pp. XIII–XV.

[11] Monteverdi, Quinto libro de madrigali, 1–4.

[12] With the present summary, I wish to draw attention to this now nearly twenty-year-old study, especially in the English-speaking world, in the hope that through wider circulation, it will receive the interest and discussion that have been denied it until now. For more recent contributions to the issue see Massimo Ossi, Divining the Oracle: Monteverdi’s Seconda Prattica (Chicago: University of Chicago Press, 2003); The Cambridge Companion to Monteverdi, edited by John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007); and Chadwick Jenkins, “Giovanni Maria Artusi and the Ethics of Musical Science,” Acta Musicologica 81 (2009): 75–97.

[13] For the convenience of readers who wish to follow my discussion in detail, the Editor of JSCM has agreed to reproduce the original article in full length in this issue, with the kind permission of the editors of Musik-Konzepte (edition text+kritik, Munich).