Linked bibliography for the SEP article "History of Western Philosophy of Music: Antiquity to 1800" by Matteo Ravasio

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Adamson, Peter, 2007, Al-KindĪ, New York: Oxford University Press. doi:10.1093/acprof:oso/9780195181425.001.0001 (Scholar)
Albert the Great, Liber de Causis Proprietatum Elementorum, translated in Albert the Great: On the Causes of the Properties of the Elements, Irven M. Resnick (trans.), Milwaukee, WI: Marquette University Press.
Aristides Quintilianus, De Musica, translated in Barker 1990: 399–535. doi:10.1017/cbo9780511585753.013
Aristotle, Metaphysics, in Barnes 2014.
–––, On the Heavens, in Barnes 2014.
–––, On the Soul, in Barnes 2014.
–––, Poetics, in Barnes 2014.
–––, Politics, in Barnes 2014.
Aristoxenus, Elementa Harmonica, translated in Barker 1990: 126–184. doi:10.1017/CBO9780511585753.008
Artusi, Giovanni Maria, 1600, L’Artusi, overo Delle imperfettioni della moderna musica (L’Artusi or Of the Imperfections of Modern Music), Venetia: Vincenti.
Augustine, “The Pleasures Taken in Hearing”, in Confessions, ch. XXXIII; translated in Strunk 1950: 73–75. (Scholar)
–––, De Musica, translated by Robert Catesby Taliaferro in Augustine’s The Immortality of the Soul, the Magnitude of the Soul, On Music, the Advantage of Believing, On Faith in Things Unseen (Fathers of the Church 4), Ludwig Schopp (ed.), Washington, DC: Catholic University of America Press, 2002. (Scholar)
Avison, Charles, 1775, An Essay on Musical Expression, third edition, London: Printed for Lockyer Davis. First edition 1752 (Scholar)
Barker, Andrew (ed.), 1990, Greek Musical Writings, Volume 2: Harmonic and Acoustic Theory, Cambridge: Cambridge University Press. doi:10.1017/CBO9780511585753 (Scholar)
–––, 2007, The Science of Harmonics in Classical Greece, Cambridge: Cambridge University Press. doi:10.1017/cbo9780511482465 (Scholar)
–––, 2014, “Pythagorean Harmonics”, in A History of Pythagoreanism, Carl A. Huffman (ed.), Cambridge: Cambridge University Press, 185–203. doi:10.1017/cbo9781139028172.010 (Scholar)
Barnes, Jonathan (ed.), 2014, The Complete Works of Aristotle: The Revised Oxford Translation, one-volume digital edition, Princeton, NJ: Princeton University Press. (Scholar)
Batteux, Charles, 1746, Les Beaux Arts réduits á un même principe, Paris: Durand; translated as The Fine Arts Reduced to a Single Principle, J. O. Young (trans.), Oxford: Oxford University Press, 2015. doi:10.1093/actrade/9780198747116.book.1 (Scholar)
Beattie, James, 1779, “Essay on Poetry and Music, as they affect the Mind”, in his Essays, third edition, London: Printed for E. and C. Dilly, 3–291. [Beattie 1779 available online] (Scholar)
Bicknell, Jeanette, 2002, “Can Music Convey Semantic Content? A Kantian Approach”, The Journal of Aesthetics and Art Criticism, 60(3): 253–261. doi:10.1111/1540-6245.00072 (Scholar)
Boethius, De Institutione Musica, extracts translated in Strunk 1950: 79–86.
Bowman, Wayne D., 1998, Philosophical Perspectives on Music, New York: Oxford University Press. (Scholar)
Boyé, 1779, L’Expression musicale, mise au rang des chimères (Musical Expression Placed Among the Chimeras), Paris: Esprit.
Brancacci, Aldo, 2007, “Democritus’ Mousika”, in Democritus: Science, The Arts, and the Care of the Soul, Aldo Brancacci and Pierre-Marie Morel (eds.), Leiden: Brill, 181–205. doi:10.1163/ej.9789004151604.i-352.41 (Scholar)
Brown, Steven, 1999, “The ‘Musilanguage’ Model of Music Evolution”, in The Origins of Music, Steven Brown, Björn Merker, and Christina Wallin (eds.), Cambridge, MA: The MIT Press, 271–300. doi:10.7551/mitpress/5190.003.0022 (Scholar)
Budd, Malcolm, 1985, Music and the Emotions: The Philosophical Theories, London/Boston: Routledge. doi:10.4324/9780203420218 (Scholar)
Caccini, Giulio, 1600 [1950], Dedication to “Euridice”, translated in Strunk 1950: 370–372. (Scholar)
Capella, Martianus, De nuptiis Philologiae et Mercurii; translated as “The Marriage of Philology and Mercury”, in Martianus Capella and the Seven Liberal Arts. Volume II: The Marriage of Philology and Mercury, William H. Stahl, Richard Johnson, and E. L. Burge (trans.), New York: Columbia University Press, 1977. (Scholar)
Cassiodorus, “Of Music”, in Institutiones, bk 2, ch. 5, translated in Strunk 1950: 87–92. (Scholar)
Chabanon, Michel-Paul Guy de, 1779, Observations sur la musique, et principalement sur la métaphysique de l’art, Paris; translated as Observations on Music and Principally on the Metaphysics of Art, in Fubini 1994: 378–383. (Scholar)
D’Alembert, Jean Le Rond, 1759, “De la liberté de la musique”, in Mêlanges de littérature, d’histoire, et de philosophie, new edition, Amsterdam, volume 4: 383–462. Extracts translated as “On the Freedom of Music” in Fubini 1994: 85–91. (Scholar)
Descartes, René, 1649, Les Passions de l’âme, Paris: Henry Le Gras; translated as The Passions of the Soul, Stephen Voss (trans.), Indianapolis, IN: Hackett, 1989. (Scholar)
–––, 1650, Compendium musicae, Utrecht, translated as Compendium of Music, Walter Robert (trans.), Rome: American Institute of Musicology, 1961. (Scholar)
Diderot, Didier, 1760, Le Neveu de Rameau ou La Satire seconde, Paris. Extracts translated as Rameau’s Nephew, in Fubini 1994: 104–111. (Scholar)
Du Bos, Jean-Baptiste, 1719, Réflexions critiques sur la poésie et sur la peinture (Critical Reflections on Poetry and Painting), Paris: Jean Mariette.
Dyer, Joseph, 2007, “The Place of Musica in Medieval Classifications of Knowledge”, Journal of Musicology, 24(1): 3–71. doi:10.1525/jm.2007.24.1.3 (Scholar)
Eriugena, John Scottus, Periphyseon, translated in Periphyseon (The Division of Nature), Inglis Patric Sheldon-Williams (trans.), translation revised by John Joseph O’Meara, Montréal: Bellarmin, 1987.
Euclid (attr.), Sectio Canonis, translated in Barker 1990: 190–208. doi:10.1017/CBO9780511585753.009
Fellerer, Karl Gustav, 1953, “Church Music and the Council of Trent”, The Musical Quarterly, 39(4): 576–594. doi:10.1093/mq/XXXIX.4.576 (Scholar)
Fubini, Enrico, 1976, Estetica musicale dall’antichità al Settecento, Torino: G. Einaudi; translated in Fubini 1991. (Scholar)
–––, 1987, Estetica musicale dal Settecento a oggi, expanded edition, Torino: G. Einaudi; translated in Fubini 1991. First edition in 1964. (Scholar)
–––, 1991, The History of Music Aesthetics, Michael Hatwell (trans.), Houndmills, Basingstoke, Hampshire: Macmillan. Includes Fubini 1976 and 1987 in translation. (Scholar)
–––, 1994, Music and Culture in Eighteenth-Century Europe: A Source Book, translated from the original sources by Wolfgang Freis, Lisa Gasbarrone, and Michael Louis Leone, translation edited by Bonnie J. Blackburn, Chicago: University of Chicago Press. Original Italian edition, Musica e cultura nel Settecento europeo, Torino: EDT, 1987. (Scholar)
Galilei, Vincenzo, 1581 [1950], Dialogo della musica antica e della moderna (Dialogue of Ancient and Modern Music), extracts translated in Strunk 1950: 302–322. (Scholar)
Ginsborg, Hannah, 2011, “Kant”, in The Routledge Companion to Philosophy and Music, Theodore Gracyk and Andrew Kania (eds.), London: Routledge, 348–58. (Scholar)
Glarean, Heinrich, 1547, Dodecachordon (in Latin), Basel; translated by Clement A. Miller, American Institute of Musicology, 1965. (Scholar)
Guyer, Paul D., 1977, “Formalism and the Theory of Expression in Kant’s Aesthetics”, Kant-Studien, 68(1–4): 46–70. doi:10.1515/kant.1977.68.1-4.46 (Scholar)
Halliwell, Stephen, 2002, The Aesthetics of Mimesis: Ancient Texts and Modern Problems, Princeton, NJ: Princeton University Press. (Scholar)
Hamilton, Andy, 2007, Aesthetics and Music, London: Continuum. (Scholar)
Herder, Johann Gottfried, 1769, Kritische Wälder. Oder Betrachtungen, die Wissenschaft und Kunst des Schönen betreffend, three volumes, Riga: Hartknoch. Two extracts translated as “Critical Forests” in Johann Gottfried Herder: Selected Writings on Aesthetics, Gregory Moore (trans./ed.), Princeton, NJ: Princeton University Press, 2006, 51–290 (Scholar)
–––, 1772 [2002], Abhandlung über den Ursprung der Sprache; translated as “Treatise on the Origin of Language”, in Herder: Philosophical Writings, M. N. Forster (ed./trans.), Cambridge: Cambridge University Press, 2002, 65–164. doi:10.1017/CBO9781139164634.007. (Scholar)
Huffman, Carl A. (ed./trans.), 1993, Philolaus of Croton: Pythagorean and Presocratic: A Commentary on the Fragments and Testimonia with Interpretive Essays, Cambridge: Cambridge University Press. doi:10.1017/cbo9780511597367 (Scholar)
–––, 2005, Archytas of Tarentum: Pythagorean, Philosopher, and Mathematician King, Cambridge: Cambridge University Press. doi:10.1017/cbo9780511482533 (Scholar)
Hutcheson, Francis, 1725, An Inquiry concerning Beauty, Order, Harmony, Design, part of An Inquiry Into the Original of Our Ideas of Beauty and Virtue: In Two Treatises, London. Modern editon in Francis Hutcheson: An Inquiry concerning Beauty, Order, Harmony, Design, Peter Kivy (ed.), The Hague: Martinus Nijhoff, 1973. (Scholar)
Isidore of Seville, Etymologiarum, extracts translated in Strunk 1950: 93–100.
Jorgensen, Larry M., 2012, “Descartes on Music: Between the Ancients and the Aestheticians”, The British Journal of Aesthetics, 52(4): 407–424. doi:10.1093/aesthj/ays041 (Scholar)
Kant, Immanuel, 1790 [2000], Kritik der Urteilskraft, Berlin/Libau: Lagarde und Friedrich; translated as Critique of the Power of Judgment, Paul Guyer (trans./ed.), Eric Matthews (trans.), Cambridge: Cambridge University Press, 2000. doi:10.1017/CBO9780511804656 (Scholar)
–––, 1798, Anthropologie in pragmatischer Hinsicht, Königsberg : Bey Friedrich Nicolovius; translated as Anthropology from a Pragmatic Point of View, Robert B. Louden (trans.), Cambridge: Cambridge University Press, 2006. (Scholar)
Katz, Ruth and Carl Dahlhaus (eds.), 1993, Contemplating Music: Source Readings in the Aesthetics of Music, in four volumes, Stuyvesant: Pendragon Press. (Scholar)
Kivy, Peter, 1984, “Mattheson as Philosopher of Art”, The Musical Quarterly, 70(2): 248–265. doi:10.1093/mq/lxx.2.248 (Scholar)
–––, 2009, Antithetical Arts: On the Ancient Quarrel Between Literature and Music, Oxford: Oxford University Press. doi:10.1093/acprof:oso/9780199562800.001.0001 (Scholar)
Le Huray, Peter and James Day, 1981, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, Cambridge: Cambridge University Press. (Scholar)
Leibniz, Gottfried Wilhelm, On Wisdom, translated in Leibniz 1989: 425–428.
–––, 1714, The Principles of Nature and of Grace, based on Reason, translated in Leibniz 1989: 636–642. doi:10.1007/978-94-010-1426-7_67">10.1007/978-94-010-1426-7_67 (Scholar)
–––, 1989, Philosophical Papers and Letters, Leroy E. Loemker (ed.), Dordrecht: Springer Netherlands. doi:10.1007/978-94-010-1426-7 (Scholar)
Levinson, Jerrold, 1997, Music in the Moment, Ithaca, NY: Cornell University Press. (Scholar)
Lippman, Edward A., 1964, Musical Thought in Ancient Greece, New York: Columbia University Press. (Scholar)
–––, 1990, Musical Aesthetics: A Historical Reader, in three volumes, New York: Pendragon Press. (Scholar)
–––, 1992, A History of Western Musical Aesthetics, Lincoln, NE: University of Nebraska Press. (Scholar)
Martinelli, Riccardo, 2012 [2019], I Filosofi e la musica, Bologna: I mulino; translated as Philosophy of Music: A History, Sarah De Sanctis (trans.), Berlin/Boston: De Gruyter. doi:10.1515/9783110627411 (Scholar)
Matherne, Samantha, 2014, “Kant’s Expressive Theory of Music”, The Journal of Aesthetics and Art Criticism, 72(2): 129–145. doi:10.1111/jaac.12076 (Scholar)
Mathiesen, Thomas, 1999, Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages, Lincoln, NE: University of Nebraska Press. (Scholar)
Mattheson, Johann, 1739, Der Vollkommene Capellmeister (The Perfect Chapelmaster), Hamburg; translated in Johann Mattheson’s “Der Vollkommene Capellmeister”: A Revised Translation with Critical Commentary, Ernest C. Harriss (trans.), Ann Arbor, MI: UMI Research Press, 1981. (Scholar)
Mersenne, Marin, 1636, Harmonie universelle, Paris: Sébastien Cramoisy. (Scholar)
Mews, Constant J., 2011, “Questioning the Music of the Spheres in Thirteenth-Century Paris: Johannes de Grocheio and Jerome de Moravia OP”, in Knowledge, Discipline and Power in the Middle Ages, Joseph Canning, Edmund J. King, and Martial Staub (eds), Leiden: Brill, pp. 111–112. (Scholar)
Mithen, Steven, 2005, The Singing Neanderthal: The Origins of Music, Language, Mind and Body, London: Orion. (Scholar)
Monteverdi, Giulio Cesare, 1607 [1950], “Declaration”, in Il quinto libro de’ madrigali, translated in Strunk 1950: 405–412. (Scholar)
Morellet, André, 1771, De l’expression en musique, et de l’imitation dans les arts, Mercure de France, November 1771, 113–143; reprinted in his Mélanges de littérature et de philosophie du 18e siècle, Paris: veuve Lepetit, 1818, volume 4, pp. 366–404. (Scholar)
Murray, Penelope and Peter Wilson, 2004, “Introduction: Mousikē, not Music”, in Music and the Muses: The Culture of Mousikē in the Classical Athenian City, Penelope Murray and Peter Wilson (eds.), Oxford: Oxford University Press, pp. 1–8. (Scholar)
O’Dea, Michael, 1995, Jean-Jacques Rousseau: Music, Illusion, and Desire, New York: St. Martin’s Press. (Scholar)
Palisca, Claude V., 1989, The Florentine Camerata: Documentary Studies and Translations, New Haven, CT: Yale University Press. (Scholar)
–––, 2006, Music and Ideas in the Sixteenth and Seventeenth Centuries, Chicago: University of Illinois Press. (Scholar)
Parret, Herman, 1998, “Kant on Music and the Hierarchy of the Arts”, The Journal of Aesthetics and Art Criticism, 56(3): 251–264. doi:10.2307/432365 (Scholar)
Philodemus, De Musica, in Katz and Dahlhaus 1993, vol. I, pp. 286–287.
Plato, Laches, in Plato 1997: 664–686.
–––, Laws, in Plato 1997: 1318–1616.
–––, Phaedo, in Plato 1997: 49–100.
–––, Republic, in Plato 1997: 971–1223.
–––, Timaeus, in Plato 1997: 1224–1291.
–––, 1997, Plato: Complete Works, John M. Cooper (ed.), Indianapolis, IN: Hackett. (Scholar)
Ptolemy, Harmonics, translated in Barker 1990: 275–391. doi:10.1017/CBO9780511585753.012
Rameau, Jean-Philippe, 1722, Traité de l’harmonie réduite à ses principes naturels, Paris: Ballard. (Scholar)
–––, 1726, Nouveau système de musique théorique, Paris: Ballard. (Scholar)
Reid, Thomas, 1774, Lectures on the Fine Arts. Printed in Thomas Reid’s Lectures on the Fine Arts, Peter Kivy (ed.), The Hague: Martinus Nijhoff, 1973. (Scholar)
Riley, Matthew, 2004, Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment, London: Routledge. doi:10.4324/9781315090702 (Scholar)
Rocconi, Eleonora, 2012, “Aristoxenos and Musical Ethos”, in Aristoxenus of Tarentum: Discussion, Carl A. Huffman (ed.), New Brunswick, NJ: Transaction Publishers, 65–90. (Scholar)
Rousseau, Jean-Jacques, 1753, Lettre sur la musique française; translated as Letter on French Music, in Scott 1998: 141–174. (Scholar)
–––, 1768, Dictionnaire de musique, Paris; translated as Dictionary of Music, in Scott 1998: 366–485. (Scholar)
–––, 1781, Essai sur l’origine des langues, Genève; translated as Essay on the Origin of Languages, in Scott 1998: 289–332. (Scholar)
Schofield, Malcolm, 2010, “Music All Pow’rful”, in Plato’s “Republic”, Mark L. McPherran (ed.), Cambridge: Cambridge University Press, 229–248. doi:10.1017/cbo9780511763090.013 (Scholar)
Schueller, Herbert M., 1948, “‘Imitation’ and ‘Expression’ in British Music Criticism in the 18th Century”, The Musical Quarterly, 34(4): 544–566. doi:10.1093/mq/xxxiv.4.544 (Scholar)
–––, 1955, “Immanuel Kant and the Aesthetics of Music”, The Journal of Aesthetics and Art Criticism, 14(2): 218–247. doi:10.2307/425860 (Scholar)
–––, 1988, The Idea of Music: An Introduction to Musical Aesthetics in Antiquity and the Middle Ages, Kalamazoo, MI: Medieval Institute Publications, Western Michigan University. (Scholar)
Scott, John T. (ed.), 1998, Jean-Jacques Rousseau: Essay on the Origin of Language and Writings related to Music, Hanover, NH: University Press of New England. (Scholar)
Sextus Empiricus, Pros mousikous, translated as Against the Musicians, Denise Davidson Greaves (trans.), Lincoln, NE: University of Nebraska Press, 1986.
Shehadi, Fadlou, 1995, Philosophies of Music in Medieval Islam, Leiden: Brill. doi:10.1163/9789004247215 (Scholar)
Smith, Adam, “Of the Nature of that Imitation that Takes Place in what are called The Imitative Arts”, in Essays on Philosophical Subjects, Dublin, 1795; reprinted in Essays on Philosophical Subjects, W. P. D. Wightman and J. C. Bryce (eds.), Indianapolis, IN: Liberty Fund, 1982. (Scholar)
Sörbom, Göran, 1994, “Aristotle on Music as Representation”, The Journal of Aesthetics and Art Criticism, 52(1): 37–46. doi:10.2307/431583 (Scholar)
Strunk, Oliver, 1950, Source Readings in Music History: From Classical Antiquity through the Romantic Era, New York: Norton & Company. (Scholar)
Sulzer, Johann Georg, 1771/1774 [1792, 1995], Allgemeine Theorie der schönen Künste, two volumes; second edition in four volumes, Johann Gottfried Dyck and Georg Schaz (eds.), Leipzig, 1792. Extracts from the second edition translated by Thomas Christensen as “General Theory of the Fine Arts”, in Aesthetics and the Art of Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, Nancy Kovaleff Baker and Thomas Christensen (eds.), Cambridge: Cambridge University Press, 1995, 25–108. (Scholar)
Thomas, Downing A., 1995, Music and the Origins of Language: Theories from the French Enlightenment, Cambridge: Cambridge University Press. doi:10.1017/cbo9780511582608 (Scholar)
Tinctoris, Johannes, 1477, “Liber de arte contrapuncti”, translated as The art of counterpoint, Albert Seay (trans.), Rome: American Institute of Musicology, 1961. (Scholar)
–––, c. 1476, Proportionale Musices, translated in Strunk 1950: 193–196. (Scholar)
–––, Complexus effectuum musices, translated in On the Dignity and the Effects of Music: Two Fifteenth-century Treatises, Reinhard Strohm and J. Donald Cullington (eds.), London: Institute of Advanced Musical Studies, King’s College London, 1996.
Verba, Cynthia, 2016, Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, New York: Oxford University Press. doi:10.1093/acprof:oso/9780199381029.001.0001 (Scholar)
Waeber, Jacqueline, 2009, “Jean-Jacques Rousseau’s ‘Unité de Mélodie’”, Journal of the American Musicological Society, 62(1): 79–143. doi:10.1525/jams.2009.62.1.79 (Scholar)
–––, 2013, “A Corruption of Rousseau? The Quest for the Origins of Music and Language in Recent Scientific Discourses”, part of the Colloquy: “Rousseau in 2013: Afterthoughts on a Tercentenary”, Journal of the American Musicological Society, 66(1): 284–289. doi:10.1525/jams.2012.66.1.251 (Scholar)
Weatherston, Martin, 1996, “Kant’s Assessment of Music in the ‘Critique of Judgment’”, The British Journal of Aesthetics, 36(1): 56–65. doi:10.1093/bjaesthetics/36.1.56 (Scholar)
Webb, Daniel, 1769, Observations on the Correspondence between Poetry and Music, London: Printed for J. Dodsley. (Scholar)
Wilkinson, Lancelot P, 1938, “Philodemus on Ethos in Music”, The Classical Quarterly, 32(3–4): 174–181. doi:10.1017/s0009838800025878 (Scholar)
Witkin, Robert W., 1998, Adorno on Music, London/New York: Routledge. doi:10.4324/9781315006048 (Scholar)
Young, James O., 2020, “Kant’s Musical Antiformalism”, The Journal of Aesthetics and Art Criticism, 78(2): 171–182. doi:10.1111/jaac.12712 (Scholar)
–––, forthcoming, History of Western Philosophy of Music, Cambridge: Cambridge University Press. (Scholar)
Zarlino, Gioseffo, 1558 [1950], Istituzioni Armoniche, parts of bk III, chs 26, 27, 29, 30, 31, 40, 71; bk IV, chs 30, 32, 33 translated in Strunk 1950: 229–261. (Scholar)
–––, 1588, Sopplimenti Musicali, Venice: Francesco de’ Franceschi. (Scholar)

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