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Although the notion that the treatise was written by Nicolaus Faber has persisted for centuries, internal evidence points conclusively to the Bavarian historian and philologist Johannes Aventinus (Johann Turmair or Thurmayr, 1477–1534) as the author of Musicae rudimenta. One of the first music treatises to use German as well as Latin, it borrows heavily from other sources, usually with due citations.
The author’s unequivocal style is striking: for example, the table of contents lists Chapter 1 as “The origins of music, a subject about which the barbarians err disgracefully, not to say ignorantly”, while other entries include such observations as “I am embarrassed to report what empty, fatuous things some writers have to say on this topic” and “In this matter, the run-of-the-mill singers are like night owls in the sunlight—blind!”
Nor does he spare himself, noting of his second chapter that “Most of the things here are quoted from others and are not very important, being pedantic and technical.” His preface concludes: “Look me over and buy me, the price is so low. Believe me, you won’t regret it.”
This according to “Musicae rudimenta: Augsburg, 1556” by T. Herman Keahey in Paul A. Pisk: Essays in his honor (Austin: University of Texas, 1966); the book is covered in our recently published Liber Amicorum: Festschriften for music scholars and nonmusicians, 1840–1966.
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