“The ordinary musician has long known the book as a repository of human nature as well as of recondite learning. He can now read it and enjoy it as he would a novel or a play or a monograph on an aspect of social history. If he does so he will find the way made still easier for him in this edition by Mr. Thurston Dart’s foreword, which is a brilliant summary of sixteenth-century musical practice in England.” ― Times [London] Literary Supplement A descriptive and historical introduction precedes Morley's classic work on the fundamentals of music theory and composition that was originally published in 1597.
Thomas Morley was a prolific composer (of sacred and secular vocal music and madrigals especially), a music theorist, singer and organist. He was one of the foremost members of the school of English madrigalists and a student of William Byrd.
Morley was also involved in print and publishing, having held a printing patent from 1598 on.
A contemporary of Shakespeare's, Morely was organist at St Paul's Cathedral when both men lived in London and his and Robert Johnson's settings of Shakespeare are the only contemporary ones we have today.
Difficult from its age, dry at times (it's essentially a textbook), but also so fun! At least, in comparison to its counterparts. The writing it in dialogue was a GREAT choice my Morley, keeps the onslaught of music fundies, counterpoint lessons, and compositional critique engaging engaging engaging! Also an insight into how he thought about music, which I find enriching. Wouldn't recommend to anyone who doesnt know basics of renaissance music (he's explanations, though witty, are often far less than "plaine and easie"), but for those who do, give it a shot!