List of music theorists
This is a list of music theorists arranged in chronological order. The criteria for inclusion relies on publication or (especially with pre-15th-century theorists) dissemination of written theoretical work by western musicians, and their inclusion in published books discussing the history of music theory.
Since the categories for music theorists are not subdivided by nationality, this list is intended to provide an overview of music theorists and provide for further exploration of the field.
Martin Gerbert and Edmond de Coussemaker were the 18th and 19th century compilers of numerous medieval theoretical treatises. It appeared to be their custom to assign names to treatises where the author was unknown (thus names such as "Anonymous IV" or "Pseudo Odo"). Modern practice is to refer to the treatises themselves by their title or their opening line, rather than infer information about their authors.[1]
Antiquity
| Name | Date | Major writing | Known for |
|---|---|---|---|
| Archytas | 428–347 BC | naming the harmonic mean; may have been the first author to describe the Quadrivium[2] | |
| Aplypius | flourished 360 | Introduction to Music (Εἰσαγωγὴ Μουσική)[3] | |
| Aristoxenus | born c. 375 BCE, flourished 335 BCE | Elementa harmonica[4] | |
| Archestratus | early 3rd century BCE | describing the pyknon | |
| Ptolemais of Cyrene | probably 3rd century BCE | wrote concerning the proper roles of reason and sensory experience in the study of music | |
| Eratosthenes | circa 276 BCE – circa 195/194 BCE | calculation of the tuning of the degrees of the tetrachords[5] | |
| Didymos | first century BCE | chromatic tetrachords[6] | |
| Cleonides | probably first century AD | Introduction to Harmonics (ἰσαγωγὴ ἁρμονική Eisagōgē harmonikē)[7] | |
| Ptolemy | circa 100 – circa 170 | Harmonics[8] | |
| Augustine of Hippo | 13 November 354 – 28 August 430 | De musica[9] | |
| Martianus Capella | early 5th century | De nuptiis Philologiae et Mercurii[10] | |
| Boethius | 480–524 or 525 | De institutione musica[11] | |
| Cassiodorus | 485–580 | Institutiones Divinarum et Saecularium Litterarum[12] | |
| Isidore of Seville | circa 560 – 636 | Etymologiarum sive Originum libri xx (chapters 15–23 deal with music)[13] |
Medieval
| Name | Date | Major writing | Known for | |
|---|---|---|---|---|
| Al-Kindi[14] | 801–873 | Al-risāla al-kubrā fī al-ta’līf (Grand treatise on composition) | ||
| Notker the Stammerer[15] | 840–912 | Epistola ad Lantbertum | ||
| Aurelian of Réôme | flourished 840–850 | Musica disciplina | earliest extant treatise on medieval music[16] | |
| Johannes Scotus Eriugena | c. 815 – 877 | De divisione naturae (also called Periphiseon) | mentions organum (scholars doubt this refers to polyphony)[17] | |
| Hucbald | c. 840 or 850 – 930 | De musica (formerly known as De harmonica institutione) | "One of the foremost expositors of music theory in the Carolingian era"[18] | |
| Anonymous 8 | 9th century | Musica enchiriadis | earliest extant discussion of polyphonic singing and the first chant melodies preserved in a precise pitch notation[19] | |
| Anonymous 7 | 9th–10th century | Alia musica | ||
| Regino of Prüm | died c. 915 | Epistola de armonica institutione | "correct the intonations and confirm the modes of the antiphons and responsories of the Mass and Office"[20] | |
| Al-Farabi | 872–950 | Kitāb al-mūsīqī al-kabīr (Great book on music) | "most imposing of all Arabic works on music"[21] | |
| Abu al-Faraj al-Isfahani | 897–967 | Kitab al-Aghani (Book of Songs) | ||
| Notker Labeo | 950–1022 | |||
| Pseudo-Odo | 11th century | Dialogus de musica | ||
| Guido of Arezzo | c. 991 – after 1033 | Micrologus | ||
| Avicenna (Ibn-Sīnā) | c. 980 – 1037 | |||
| Berno of Reichenau | died 1048 | |||
| Hermannus Contractus | 1013–1054 | |||
| Aribo Scholasticus[22] | fl. 1068–1078 | De musica | also known as simply "Aribo." Created a "caprea," a diagram showing modal tetrachords superimposed on the gamut. | |
| Wilhelm of Hirsau | died 1091 | De musica[23] | ||
| Frutolf of Michelsberg[24] | mid-11th century – 1103 | Brevarium | compiler of treatises, in particular Boethius and Berno of Reichenau. | |
| Theogerus of Metz[25] | c. 1050 – c. 1120 | Musica | ||
| Coussemaker, doc. 1 | 2nd half of 11th century | Ad organum faciendum | ||
| Johannes Cotto | fl. 1100 | De musica | ||
| Guido of Eu[26] | fl. 1130s | supposed author of Regule de arte musica | earliest Cistercian treatise on music theory. | |
| Theinred of Dover (Theinredus Doverensis)[27] | 12th century | De legitimis ordinibus pentachordorum et tetrachordorum | discussion of chromatically altered tones in plainsong | |
| Ficker Anonymous[28] | early 13th century | Ars organi | ||
| Franco of Cologne | 13th century | Franconian Notation | ||
| Safi al-Din al-Urmawi | born c. 1216 AD Baghdad, died in 1294 AD | Kitab al-Adwār and Risālah al-Sharafiyyah fi 'l-nisab al-taʾlifiyyah (The Sharafiyyah Letter on the Art of Composing[29]) | ||
| Bartholomeus Anglicus | before 1203 – 1272 | |||
| Roger Bacon | 1214–1292 | |||
| Coussemaker, Anonymous 3, document 3 | c. 1230 | Discantus positio vulgaris | ||
| Egidius de Zamora[30] | fl. 1260–1280 | Ars musica | noted for inclusion of Spanish instruments and description of organ used in church. | |
| Amerus | fl. 1271 | Practica artis musice | ||
| Hieronymus of Moravia[31] | died after 1272 | Tractatus de musica | ||
| Anonymous IV | fl. 1270 – 1280 | De mensuris et discantu | ||
| Anonymous 2 | late 13th century | Tractatus de discantu | ||
| Magister Lambertus[32] | fl. c. 1270 | Tractatus de musica | ||
| Engelbert of Admont | c. 1250 – 1331 | |||
| Jacob of Liège | c. 1260 – after 1330 | |||
| Johannes de Garlandia | fl. 1270–1320 | |||
| Petrus de Cruce | late 13th century | |||
| Johannes Balox[33] | late 13th century | Gaudent brevitate moderni | ||
| Petrus de Picardia[34] | mid-13th century | Ars motettorum compilata breviter | ||
| Elias Salomo[35] | late 13th century | Scientia artis musice | ||
| Sowa Anonymous or Anonymous of St. Emmeram | 1279 | De musica mensurata | ||
| Anonymous 3 | early 14th century | Compendiolum artis veteris | ||
| Philippe de Vitry | c. 1291 – 1361 | |||
| Hugo Spechtshart | c. 1285 – 1359/60 | Flores musicae omnis cantus Gregoriani | ||
| Johannes Vetulus de Anagnia[36] | 1st half of 14th century] | Liber de musica | ||
| Petrus frater dictus Palma ociosa[37] | fl. early 14th century | Compendium de discantu mensurabili | ||
| Johannes de Grocheio | fl. 1300 | Ars musicae | ||
| Manuel Bryennius[38] | 14th century | Harmonika | ||
| Walter Odington | died 1330 | |||
| Johannes de Muris | c. 1290 – after 1344 | |||
| Marchetto da Padova | fl. 1274–1319 | |||
| Robert de Handlo[39] | early 14th century | |||
| Anonymous 7 (Coussemaker) | mid-14th century | De diversis manieribus | ||
| John Hanboys | late 14th century | |||
| John of Tewkesbury[40] | fl. 1351–1392 | Quatuor principalia musice | ||
| Johannes Boen[41] | died 1367 | Ars [musicae], Musica | ||
| Ellsworth Anonymi | before 1375 | The Berkeley Manuscript | ||
| Anonymous 5 | late 14th century | Ars cantus mensurabilis | ||
| Johannes Ciconia | 1360–1412 | |||
| Philippus de Caserta | late 14th century | |||
Renaissance
| Name | Date | Major writing | Known for |
|---|---|---|---|
| Fernand Estevan[42] | fl. 1410 | Reglas de canto plano è de contrapunto, è de canto de organo | |
| Giorgio Anselmi | c. 1386 – 1440/43 | ||
| Ugolino of Forlì or Ugolino of Orvieto | c. 1380 – 1452 | ||
| Antonius de Leno[43] | early 15th century | Regulae de contrapunto | (title created by Coussemaker from incomplete treatise) |
| John Hothby | c. 1410 – 1487 | ||
| Johannes Gallicus[44] | c. 1415 – 1473 | Praefatio libelli musicalis de ritu canendi vetustissimo et novo | First 15th century theorist to describe attributes of Renaissance music.[44] |
| Prosdocimus de Beldemandis | died 1428 | ||
| Johannes Tinctoris | c. 1435 – 1511 | ||
| Bartolomeus Ramis de Pareia | c. 1440 – after 1491 | ||
| Adam von Fulda | 1445–1505 | ||
| Johannes Cochlaeus | 1449–1552 | ||
| Anonymous 11 | mid-15th century | Tractatus de musica plana et mensurabili | |
| Anonymous 12 | 2nd half of 15th century | Tractatus de musica | |
| Franchinus Gaffurius | 1451–1522 | Practica musicae, 1496 | |
| Nicolò Burzio[45] | 1453–1528 | Musices opusculum | |
| Giovanni Spataro[46] | 1458–1541 | Tractato di musica di Gioanni Spataro musico bolognese nel quale si tracta de la perfectione da la sesqualtera producta in la musica mensurata exercitate | |
| Jacques Lefèvre d'Étaples (alias Jacobus Faber Stapulensis) | c. 1460 – 1536 | Musica libris demonstrata quattuor, Paris 1496 | |
| Domingo Marcos Durán | c. 1460 – 1529 | ||
| Erasmus Horicius[47] | c. 1465 – early 16th century | Musica and Tractatus de sphera | |
| Michael Keinspeck[48] | c. 1470 – mid-16th century | Lilium musicae planae | |
| Lodovico Fogliano[49] | c. 1475 – 1542 | Musica theorica (Venice, 1529) | |
| Johannes Aventinus | 1477–1534 | ||
| Pietro Aaron | c. 1480 – c. 1550 | ||
| Nicolaus Wollick[50] | c. 1480 – 1541 | Enchiridion musices (1512) | |
| Sebastian z Felsztyna | c. 1480/1490? – after 1543 | ||
| Melchior Schanppecher[51] | born c. 1480 | Opus aurem musicae (Cologne, 1501) | |
| John Tucke[52] | c. 1482 – after 1539 | His notebook[53] | |
| Martin Agricola | 1486–1556 | ||
| Heinrich Glarean | 1488–1563 | ||
| Georg Rhau | 1488–1548 | ||
| Giovanni Del Lago[54] | c. 1490 – 1544 | Correspondence with Giovanni Spataro and Pietro Aaron[54] | |
| Giovanni Maria Lanfranco[55] | c. 1490 – 1545 | Scintille di musica | Author of the earliest treatise on music theory in Italian[55] |
| Andreas Ornithoparchus[56] | born c. 1490 | Musicae activae micrologus (Leipzig, 1517) | |
| Bonaventura da Brescia[57] | late 15th century | Breviloquium musicale (Brescia, 1497) (later editions known as Regula musicae planae) | |
| Gulielmus Monachus[58] | late 15th century | De preceptis artis musicae | |
| Guillermo de Podio[59] | late 15th century | Ars musicorum (Valencia, 1495); In enchiridion de principiis musicae | |
| Silvestro Ganassi dal Fontego | c. 1492 – mid-16th century | Opera intitulata Fontegara (Venice, 1535) Regola Rubertina (Venice, 1542) Lettione Seconda (Venice, 1543) | |
| Stephanus Vanneo | 1493–1535 | ||
| Henricus Grammateus (alias Heinrich Schreiber) | 1495–1525/6 | ||
| Sebald Heyden | 1499–1561 | De arte canendi (Nuremberg, 1532-40) | |
| Heinrich Faber | before 1500–1552 | Compendiolum musicae (1548) De musica poetica (1548) Ad musicam practicam introductio (1550) | |
| Simon de Quercu[60] | early 16th century | Opusculum musices (Vienna, 1509) | |
| Vicente Lusitano | 16th century | Introdutione facilissima et novissima de canto fermo (Rome, 1553) | |
| Auctor Lampadius[61] | c. 1500 – 1559 | Compendium musices, tam figurati quam plani cantus, ad formam dialogi (Berne, 1537, 5/1554) | |
| Adrianus Petit Coclico | c. 1500 – 1562 | ||
| Juan Bermudo | c. 1510 – 1565 | Libro primero de la Declaración de instrumentos musicales (1549) Comiença el Arte Tripharia(1550)[62] | |
| Nikolaus Listenius[63] | born c. 1510 | Rudimenta musicae (1533) | |
| Ghiselin Danckerts | c. 1510 – after 1565 | ||
| Diego Ortiz | c. 1510 – 1570 | ||
| Nicola Vicentino | 1511–1576 | ||
| Francisco de Salinas | 1513–1590 | ||
| Gioseffo Zarlino | 1517–1590 | ||
| Girolamo Mei | 1519–1594 | ||
| Aiguino da Brescia[64] | 1520–1581 | Illuminata de tutti i tuoni di canto fermo (Venice, 1562) | |
| Vincenzo Galilei | late 1520–1591 | ||
| Hermann Finck | 1527–1558 | ||
| Francisco de Montanos[65] | c. 1528 – after 1592 | Arte de música (1592) | |
| Ercole Bottrigari | 1531–1612 | ||
| Pietro Pontio | 1532–1595 | ||
| Gallus Dressler | 1533 – c. 1580/89 | ||
| Orazio Tigrini[66] | c. 1535 – 1591 | Il compendio della musica nel quale si tratta dell’arte del contrapunto | |
| Giovanni Maria Artusi | c. 1540 – 1613 | ||
| Giulio Caccini | c. 1545 – 1618 | ||
| Cyriakus Schneegass | 1546–1597 | ||
| Philibert Jambe de Fer | fl. 1548–1564 | ||
| John Wylde | mid-15th century | ||
| Riccardo Rognoni | c. 1550 – 1620 | Passaggi per potersi esercitare nel diminuire Venice 1592 | |
| Pierre Maillart | 1550–1622 | ||
| Scipione Cerreto | c. 1551 – 1633 | ||
| Elway Bevin | c. 1554 – 1638 | ||
| Girolamo Diruta | c. 1554 – after 1610 | ||
| Jean Yssandon | c. 1555 – 1582 | ||
| Lodovico Zacconi | 1555–1627 | ||
| Sethus Calvisius | 1556–1615 | ||
| Johannes Nucius | c. 1556 – 1620 | ||
| Thomas Morley | c. 1557 – 1602 | ||
| Claudius Sebastiani | fl. 1557–65 | ||
| Adam Gumpelzhaimer | 1559–1625 | ||
| Giovanni Luca Conforti | c. 1560 – 1608 | Breve et facile maniera d’essercitarsi..., Rome 1593 | |
| Charles Butler | 1560–1647 | The Principles of Musik (1636) | |
| Giovanni Bassano | 1560/61–1617 | Ricercate, passaggi et cadentie... Venice 1585 | |
| Pietro Cerone | 1561–1625 | ||
| Peter Eichmann | 1561–1623 | ||
| Jan Pieterszoon Sweelinck | 1562–1621 | ||
| Giovanni Camillo Maffei | fl 1562–73 | Delle lettere del Signor Gio. Camillo Maffei da Solofra, libri due ..., Naples 1562 | |
| William Bathe | 1564–1614 | ||
| Joachim Burmeister | 1564–1629 | ||
| Johannes Christoph Demantius | 1567–1643 | ||
| Claudio Monteverdi | 1567–1643 | ||
| Thomas Campion | 1567–1620 | ||
| Adriano Banchieri | 1568–1634 | ||
| Girolamo Dalla Casa | before 1568 – 1601 | Il vero modo di diminuir con tutte le sorti di stromenti di fiato, & corda, & di voce humana Venice: Angelo Gardano 1584 | |
| Michael Praetorius | c. 1569/73 – 1621 | ||
| Georg Quitschreiber | 1569–1638 | ||
| Tomás de Santa María | died 1570 | ||
| Francesco Bianciardi | c. 1571 – 1607 | ||
| Eucharius Hoffmann | died 1588 | ||
| Rudolf Schlick | flourished 1588 | Exercitatio, qua musices origo prima, cultus antiquissimus, dignitas maxima et emolumenta … breviter ac dilucide exponuntur Speyer, 1588[67] | |
| Giovanni Battista Bovicelli | fl 1592–94 | Regole, passaggi di musica, madrigali et motetti passeggiati Venice, 1594 | |
| Gaspar Stoquerus | late 16th century | ||
| Francesco Rognoni Taeggio | second half of the 16th century – after 1626 | Selva de varii passaggi Milan, 1620 | |
17th century
| Name | Date | Major writing | Known for |
|---|---|---|---|
| Aurelio Virgiliano | fl c1620 | Il Dolcimelo, c1620 | |
| Wolfgang Schonsleder | 1570–1651 | ||
| John Coprario | c. 1570 – 1626 | ||
| Johannes Kepler | 1571–1630 | ||
| Giulio Monteverdi | 1573–1630/31 | ||
| Robert Fludd | 1574–1637 | ||
| Salomon de Caus | c. 1576 – 1626 | ||
| Gerhard Johann Vossius | 1577–1649 | ||
| Agostino Agazzari | 1578–1640 | Del sonare sopra il basso, 1607 | |
| Henricus Baryphonus | 1581–1655 | ||
| Severo Bonini | 1582–1663 | ||
| Thomas Ravenscroft | c. 1582 – 1635 | ||
| Johannes Lippius | 1585–1612 | ||
| Antoine Parran | 1587–1650 | ||
| Johann Heinrich Alsted | 1588–1638 | ||
| Johann Andreas Herbst | 1588–1666 | ||
| Marin Mersenne | 1588–1648 | ||
| Heinrich Grimm | 1593–1637 | ||
| Giovanni Battista Doni | 1595–1647 | ||
| René Descartes | 1596–1650 | ||
| Galeazzo Sabbatini | 1597–1662 | ||
| Joan Albert Ban | 1597–1644 | ||
| Johann Crüger | 1598–1662 | ||
| Joachim Thuringus | born late 16th century | Opusculum bipartitum de primordiis musicis, Berlin, 1624 | |
| Agostino Pisa | early 17th century | ||
| Jean Denis | c. 1600 – 1672 | ||
| Antoine de Cousu | c. 1600 – 1658 | ||
| Marco Scacchi | c. 1600 – 1681/87 | ||
| Athanasius Kircher | 1601–1680 | ||
| Christopher Simpson | c. 1605 – 1669 | ||
| Hans Mikkelsen Ravn | c. 1610 – 1663 | ||
| Wolfgang Ebner | 1612–1665 | ||
| Otto Gibelius | 1612–1682 | ||
| Thomas Mace | 1612/3 – c. 1706 | ||
| Lorenzo Penna | 1613–1693 | ||
| William Holder | 1616–1696 | ||
| John Wallis | 1616–1703 | ||
| Isaac Vossius | 1618–1689 | ||
| Conrad Matthaei | 1619 – c. 1667 | ||
| Matthew Locke | 1621–1677 | ||
| John Playford | 1623–1686 | ||
| Andrés Lorente | 1624–1703 | ||
| René Ouvrard | 1624–1694 | ||
| Bénigne de Bacilly | c. 1625 – 1690 | ||
| Giovanni Andrea Bontempi | c. 1624 – 1705 | ||
| Christoph Bernhard | 1628–1692 | ||
| Christiaan Huygens | 1629–1695 | ||
| Guillaume-Gabriel Nivers | c. 1632 – 1714 | ||
| Nikolay Diletsky | c. 1630 – after 1680 | ||
| Angelo Berardi | c. 1636 – 1694 | ||
| Daniel Speer | 1636–1707 | ||
| Francis North | 1637–1685 | ||
| Wolfgang Caspar Printz | 1641–1717 | ||
| Giovanni Maria Bononcini | 1642–1678 | ||
| Jean Rousseau | 1644–1700 | ||
| Andreas Werckmeister | 1645–1706 | ||
| Gottfried Wilhelm Leibniz | 1646–1716 | ||
| Thomas Salmon | 1648–1706 | ||
| Johann Georg Ahle | 1651–1706 | ||
| Roger North | 1653–1734 | ||
| Zaccaria Tevo | 1651 – c. 1709/12 | ||
| Joseph Sauveur | 1653–1716 | ||
| Georg Muffat | 1653–1704 | ||
| Pier Francesco Tosi | c. 1653 – 1732 | ||
| Pablo Nassarre | c. 1654 – 1730 | ||
| Johann Baptist Samber | 1654–1717 | ||
| Johann Beer | 1655–1700 | ||
| Sébastien de Brossard | 1655–1730 | ||
| Étienne Loulié | c. 1655 – 1707 | ||
| Giovanni d’Avella | fl. 1657 | Regole di musica, divise in cinque trattati, Rome, 1657 | |
| Henry Purcell | 1659–1695 | ||
| Nicola Matteis | fl. 1670–c. 1698 | ||
| Friedrich Erhard Niedt | 1674–1717 | ||
| Charles Masson | fl. 1680–1700 | ||
| De La Voye-Mignot | died 1684 | ||
18th century
| Name | Date | Major writing | Known for |
|---|---|---|---|
| Johann Joseph Fux | 1660–1741 | ||
| Johann Kuhnau | 1660–1722 | ||
| Tomáš Baltazar Janovka | 1669 –1741 | ||
| Francesco Gasparini | 1661–1727 | ||
| Johann Heinrich Buttstett | 1666–1727 | ||
| Johann Christoph Pepusch | 1667–1752 | ||
| David Kellner | c. 1670 – 1748 | ||
| Johann Philipp Treiber | 1675–1727 | ||
| Georg Philipp Telemann | 1681–1767 | ||
| Johann Mattheson | 1681–1764 | ||
| Johann David Heinichen | 1683–1729 | ||
| Jean-Philippe Rameau | 1683–1764 | ||
| Meinrad Spieß | 1683–1761 | ||
| Johann Gottfried Walther | 1684–1748 | ||
| Alexander Malcolm | 1685–1763 | ||
| Johann Georg Neidhardt | 1685–1739 | ||
| François Campion | c. 1686 – 1748 | ||
| Francesco Geminiani | 1687–1762 | ||
| Giuseppe Tartini | 1692–1770 | ||
| Johann Joachim Quantz | 1697–1773 | ||
| Francesco Antonio Vallotti | 1697–1780 | ||
| Jakob Adlung | 1699–1762 | ||
| Christoph Gottlieb Schröter | 1699–1782 | ||
| William Tans'ur | 1700–1783 | ||
| De Saint-Lambert | fl. 1700–1710 | ||
| Georg Andreas Sorge | 1703–1778 | ||
| Gottfried Keller | died 1704 | ||
| Jean-Adam Serre | 1704–1788 | ||
| Giovanni Battista Martini | 1706–1784 | ||
| Leonhard Euler | 1707–1783 | ||
| Johann Adolph Scheibe | 1708–1776 | ||
| Jean Laurent de Béthizy | 1709–1781 | ||
| Joseph Riepel | 1709–1782 | ||
| Lorenz Christoph Mizler Kolof | 1711–1778 | ||
| Jean-Jacques Rousseau | 1712–1778 | ||
| Nicola Sala | 1713–1801 | ||
| Carl Philipp Emanuel Bach | 1714–1788 | ||
| Pierre-Joseph Roussier | 1716–1792 | ||
| Jean le Rond d'Alembert | 1717–1783 | ||
| Friedrich Wilhelm Marpurg | 1718–1795 | ||
| Niccolo Pasquali | c. 1718 – 1757 | ||
| Leopold Mozart | 1719–1787 | ||
| Johann Friedrich Agricola | 1720–1774 | ||
| Johann Georg Sulzer | 1720–1779 | ||
| Martin Gerbert | 1720–1793 | ||
| Johann Philipp Kirnberger | 1721–1783 | ||
| George Simon Löhlein | 1725–1781 | ||
| Giuseppe Paolucci | 1726–1776 | ||
| Antonio Eximeno y Pujades | 1729–1808 | ||
| Antonio Soler | 1729–1783 | ||
| Johann Friedrich Daube | c. 1730 – 1797 | ||
| Luigi Antonio Sabbatini | c. 1732 – 1809 | ||
| Johann Georg Albrechtsberger | 1736–1809 | ||
| Vincenzo Manfredini | 1737–1799 | ||
| Johann Gottlieb Portmann | 1739–1798 | ||
| Honoré François Marie Langlé | 1741–1807 | ||
| Johann Abraham Peter Schulz | 1747–1800 | ||
| Maximilian Stadler | 1748–1833 | ||
| Georg Michael Telemann | 1748–1831 | ||
| Johann Nikolaus Forkel | 1749–1818 | ||
| Heinrich Christoph Koch | 1749–1816 | ||
| Abbé Vogler | 1749–1814 | ||
| Antonio Ventura Roel del Rio | fl. mid-18th century | ||
| Augustus Frederic Christopher Kollmann | 1756–1829 | ||
| Daniel Gottlob Türk | 1756–1813 | ||
| Francesco Galeazzi | 1758–1819 | ||
| Luigi Cherubini | 1760–1842 | ||
| Jérôme-Joseph de Momigny | 1762–1842 | ||
| Bedřich Diviš Weber | 1766–1842 | ||
| Józef Elsner | 1769–1854 | ||
| Anton Reicha, (alias Antoine-Joseph Reicha, alias Antonín Reijcha) | 1770–1836 | ||
| Alexandre-Étienne Choron | 1771–1834 | ||
| John Holden | died c. 1771 | ||
| Charles Simon Catel | 1773–1830 | ||
| Matthew Peter King | 1773–1823 | ||
| Johann Anton André | 1775–1842 | ||
| Johann Bernhard Logier | 1777–1846 | ||
| Gottfried Weber | 1779–1839 | ||
19th century
20th century
| Name | Date | Major writing | Known for | |
|---|---|---|---|---|
| Stephan Krehl | 1864–1924 | |||
| Émile Jaques-Dalcroze | 1865–1950 | |||
| Ferruccio Busoni | 1866–1924 | |||
| Charles Koechlin | 1867–1950 | |||
| André Gedalge | 1868–1926 | |||
| Alfred Lorenz | 1868–1939 | |||
| Thorvald Otterstrom | 1868–1942 | A Theory of Modulation | ||
| Heinrich Schenker | 1868–1935 | Free Composition, part 3 of New Musical Theories and Fantasies | Schenkerian Analysis | |
| August Otto Halm | 1869–1929 | Die Symphonie Anton Bruckners | ||
| Hans Pfitzner | 1869–1949 | |||
| André Pirro | 1869–1943 | |||
| Rudolf Louis | 1870–1949 | |||
| Charles Herbert Kitson | 1874–1944 | |||
| Hugo Leichtentritt | 1874–1951 | |||
| Arnold Schoenberg | 1874–1951 | Style and Idea | ||
| Donald Tovey | 1875–1940 | |||
| Arnold Schering | 1877–1941 | |||
| Boleslav Leopoldovich Yavorsky | 1877–1942 | |||
| Zdeněk Nejedlý | 1878–1962 | |||
| Otakar Zich | 1879–1934 | |||
| Marion Bauer | 1882–1955 | |||
| Mario de Andrade | 1883–1945 | |||
| Boris Vladimirovich Asafiev | 1884–1949 | |||
| Hermann Keller | 1885–1967 | The Well-Tempered Clavier by Johann Sebastian Bach | ||
| Rudolph Reti | 1885–1957 | |||
| Vladimír Helfert | 1886–1945 | |||
| Ernst Kurth | 1886–1946 | |||
| Charles Seeger | 1886–1979 | formulation of dissonant counterpoint[68] | ||
| Nadia Boulanger | 1887–1979 | |||
| Ernst Ferand | 1887–1972 | |||
| Adele T. Katz | 1887–1979 | |||
| Ludvík Kundera | 1891–1971 | |||
| Knud Jeppesen | 1892–1974 | |||
| Josef Hutter | 1894–1959 | |||
| Nicolas Slonimsky | 1894–1995 | Thesaurus of Scales and Melodic Patterns (1947) | ||
| Paul Hindemith | 1895–1963 | |||
| Joseph Schillinger | 1895–1943 | |||
| Howard Hanson | 1896–1981 | |||
| Victor Zuckerkandl | 1896–1965 | |||
| Roger Sessions | 1896–1985 | |||
| Henry Cowell | 1897–1965 | |||
| Erwin Ratz | 1898–1973 | |||
| Felix Salzer | 1904–1986 | |||
| Alain Daniélou | 1907–1994 | |||
| Ernst Oster | 1908–1977 | |||
| Zofia Lissa | 1908–1980 | |||
| Olivier Messiaen | 1908–1992 | |||
| George Perle | 1915–2009 | |||
| Miroslav Venhoda | 1915–1987 | |||
| Milton Babbitt | 1916–2011 | |||
| Edward T. Cone | 1917–2004 | |||
| Alfred Mann | 1917–2006 | |||
| Deryck Cooke | 1919–1976 | |||
| Iannis Xenakis | 1922–2001 | |||
| George Russell | 1923–2009 | |||
| Jaroslav Volek | 1923–1989 | |||
| Joseph Kerman | 1924–2014 | |||
| Ernő Lendvai | 1925–1993 | |||
| Allen Forte | 1926–2014 | |||
| Eric Sams | 1926–2004 | |||
| William Ennis Thomson | born 1927 | |||
| Ernst Widmer | 1927–1990 | |||
| Harold Powers | 1928–2007 | |||
| Tomislav Volek | born 1931 | |||
| Karlheinz Stockhausen | 1928–2007 | |||
| Carl Schachter | born c. 1932 | |||
| David Lewin | 1933–2003 | |||
| Benjamin Boretz | born 1934 | |||
| Edward Aldwell | 1938–2006 | |||
| Edward Laufer | 1938–2014 | |||
| Stefan Kostka | born 1939 | |||
| Fred Lerdahl | born 1943 | A Generative Theory Of Tonal Music (1983) | ||
| Jean-Jacques Nattiez | born 1945 | Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate (1990) | ||
| Maury Yeston | born 1945 | The Stratification of Musical Rhythm | ||
| Vladimir Martynov | born 1946 | |||
| William Caplin | born 1948 | |||
| Laurence Dreyfus | born 1952 | |||
| Miller Puckette | born 1959 | The Theory and Technique of Electronic Music | Max (software), Pure Data | |
| David Carson Berry | born 1968 | |||
| Dmitri Tymoczko | born 1969 | A Geometry of Music | ||
21st century
| Name | Date | Major writing | Known for |
|---|---|---|---|
| Richard Cohn | born 1955 | "Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting Music" "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions" | |
| Victor Kofi Agawu | born 1956 | African Rhythm, A Northern Ewe Perspective | |
| James Hepokoski | born 1946 | Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. (Co-authored with Warren Darcy) (Awarded the Wallace Berry Prize from the Society for Music Theory, 2008) | |
See also
References
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- Translation is in the introduction. https://www.academia.edu/8385855/Turkish_and_Arabic_Bashraf
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- Spilker, John D., "Substituting a New Order": Dissonant Counterpoint, Henry Cowell, and the network of ultra-modern composers Archived August 15, 2011, at the Wayback Machine, PhD dissertation, Florida State University, 2010.
Further reading
- Damschroder, David and David Russell Williams. Music theory from Zarlino to Schenker : a bibliography and guide. Stuyvesant, NY: Pendragon Press, 1990. ISBN 0-918728-99-1
- Williams, David Russell and C. Matthew Balensuela. Music theory from Boethius to Zarlino: a bibliography and guide. Hillsdale, NY: Pendragon Press, 2007. ISBN 978-1-57647-157-9
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