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1 BAINES, Anthony. European and American musical instruments.
New York: Viking Press, (1966). 1966 
305 x 230 mm. 4to. x, 174 pp. Color frontis., 19 figs., 821 figs. on plates, bibliog., index. Black cloth, gilt spine, dust-jacket; jacket price clipped. Fine. 
Price: 45.00 USD
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2 BUCHNER, Alexander. Musical instruments through the ages. Translated by Iris Urwin.
London: Batchworth Press, (1961). 1961 
338 x 256 mm. 4to. xv, [38], [6], [1] pp. Tables, 323 plates (many color), index; title-page lightly soiled. Gilt-stamped beige cloth, dust-jacket; jacket torn at corner and soiled. Very good. 
Price: 45.00 USD
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Excellent Compendium of Musick: with Necessary and Judicious Animadversions Thereupon. [with:] Animadversions Upon the Musick–Compendium., DESCARTES, René (1596-1650).
3 DESCARTES, René (1596-1650). Excellent Compendium of Musick: with Necessary and Judicious Animadversions Thereupon. [with:] Animadversions Upon the Musick–Compendium.
London: Printed by Thomas Harper for Humphrey Moseley, and Thomas Heath, 1653. 1653 
2 parts in 1. Small 4to. [16], 94, [1] pp. Title vignette, illus. (diagrams, charts, music notation, guitar-figure (p.66) [pp. 66-68 etched], tables, errata. Old calf; rebacked, gilt spine title, later endleaves, edge wear, rubbed. Very good. RARE. First edition in English; Musicae compendium first published in Latin The Animadversions upon the musick compendium of Renat. Des-Cartes has a separate title page. The translator, Viscount William Brouncker (1620 or 1621-1684), is not named. First edition of Descartes’ only work on music, written as far back as 1618 [Compendium musicae], but first published in Latin as, Renati Des-Cartes Musicae compendium, (Utrecht): Gisberti a Zijll, & Theodori ab Ackersdijck, 1650. “The Compendium is both a treatise on music and a study in methodology. In it Descartes shows himself to be a link between the musical humanists of the 16th century-he was influenced particularly by Zarlino, whom he cited-and the scientists of the 17th. The work is noteworthy as an early experiment in the application of an empirical, deductive, scientific approach to the study of sensory perception and as being among the earliest attempts to define the dual relationship between the physical and psychological phenomena in music.” “Descartes divided music into three basic component parts, each of which can be isolated for study: the mathematical-physical aspect of sound, the nature of sensory perception and the ultimate effect of such perception on the individual listener. He considered the first of these to lend itself to pure scientific investigation, since it is independent of personal interpretation. He characterized the process of sensory perception as being autonomous, self-regulating and measurable. This is the realm where practical aspects of music are dealt with (e.g. rules for counterpoint) and to which the great bulk of the Compendium is devoted. To Descartes the impact of sound on a listener's emotions or ‘soul’ is a subjective, irrational element and therefore incapable of being scientifically measured. He described it as a psychological-physiological phenomenon that clearly belongs to the areas of aesthetics and metaphysics, of which he was to develop the principles later in his philosophical writings. The distinction he made in the Compendium, between sound as a physical phenomenon and sound as understood by the human conscience, permitted him to pass from a rationalist concept of aesthetics to a sensualist one in his later work. This concept was influential in the development of a philosophy for the affections in music in late 17th-century Germany, especially through his treatise Les Passions de l'âme (Amsterdam, 1649).” – Columbia University (for 1650 Latin issue). New Grove V, 387. “Harmonic theory proved highly amendable to the kinds of mathematic reasoning esoused by Descartes, Indeed, ideas that would later culminate in his ground-breaking mechanistic epistemology are evident in his early work Compendium musicae... Exploring his subject through recourse to string lengths as the Greeks had done, Descartes showed how, stripped of mystical significance, the same numbers described visible string segments and thus constituted the true foundation of musical sounds. Instead of dividing the string into superparticular ratios, Descartes derived all the intervals used in music via six divisions of a sounding string ... (thereby generating the octave, twelfth, double octave, major seventeenth, and perfect nineteenth). By treating the string itself as the physical source of pitches (rather than intervals), Descartes effectively produced the harmonic series and thus the epistemological approach that would be taken by the Cooke, Rameau and numerous other Enlightenment theorists.” – Tim Eggington, The Advancement of Music in Enlightenment England: Benjamin Cooke and the Academy of Ancient Music, Boydell Press, (2014), p. 110. Select locations: BM; Oxford Univ.; King’s College; Leeds Univ.; University College London; Trinity Saint David (Roderic Bowen Library and Archives; Wellcome; Royal Academy of Music, Sheffield University; York University, etc. First Edition. 
Price: 1625.00 USD
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4 HOUGHTON, Claude (1889-1961). [Autograph Letter Signed]. (180 x 115 mm). Single sheet, written on front and back of Savage Club, London, stationary.
London, August 23, 1957. 1957 Signed
Accompanied by sheet music for “Someone a Little Like You… Words by Claude Houghton, Music by Frederic Curzon.” INSCRIBED BY THE AUTHOR: “For Marjorie with my love, Claude, August 1951.” Housed in Quarter dark blue morocco folder with marbled paper sides. Very good. The letter reads: “Dear Marjorie, How glad I was to have your letter! And how deeply I sympathize with you about migraine! (My wife has suffered with it off and on for years). But do remember you can recover. Remember, too, my dear, you are needed. You have drive, initiative – and I am sure you will be in action again. Then we’ll have a marvelous lunch and talk about everything! There isn’t a recording yet of the song. (I am sending you a copy of it today under separate cover.) It has had a good many broadcasts and will have many more. (The words – in the new edition – have been slightly altered so that sopranos can sing it.) I am so glad you like it. It’s grand news that you are studying music. Really grand. I think the song will eventually be recorded and when it is, you shall have a record. When I say ‘recorded’ I mean of course by someone like H.M.V.; but singers have made a recording – … and purposes. If I can get one, you shall [have] it. I have a new novel coming out in January. Also another song – of a different kind. It will be a two-part song for women, and will be sung by women’s choirs. Of course later it may appear as a “straight” song. It is a lullaby. Lullabies are always written by people who haven’t children! Bless you. Look after yourself. Love given, Claude.” The identity of Marjorie is a mystery, but she may be either Marjorie Lawrence (1907-1979), a noted Australian soprano, or novelist Marjorie Bowen (1885-1952). Houghton and Lawrence shared an acquaintance, James P.J. Murphy, and traveled in the same literary circles. (See: Georgetown spec coll). Houghton and Bowen traveled in the same literary circles: (See: FORTUNE, Dion. Esoteric Orders and Their Work. 2000, p. 7). 
Price: 350.00 USD
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5 MONNET, Jean (1703-1785) (ed.). Anthologie Françoise, ou Chansons Choisies, depuis le 13e siècle jusqu’à présent.
[Paris: Barbou], 1765. 1765 Signed
Volume 1 only (of 3). 8vo. 7, [1], 64; 318 pp. Engraved portrait frontis. by Cochin, 2 engraved plates, small engraved title vignette, decorative tail and headpieces, second half is almost all engraved sheet music; faintly foxed, few dog-eared corners, small worm hole through last four leaves, not affecting legibility. Original half gilt-stamped red calf over marbled boards; worn, front joint starting. Bookplates of John Chamier and Hartford Seminary Foundation, ink signature of Alaric a Watts. and ink notes. FRONTIS. INSCRIBED BY THE AUTHOR-EDITOR: “Le Sieur Monnet Editeur de l’Ouvrage.” Good. More than half the book is an anthology of 150 French songs, arranged in chronological order (from the thirteenth century with Thibault of Champagne, to the Abbot Prévost (d.1763), engraved sheet music, compiled by Jean Monnet, director of the Opera Comique and of Lyon. The musical selection is preceded by a historical dissertation on the song in general, particularly French song, written by Meusnier de Querlon. REFERENCES: Cohen, 723; Antoine Alexandre Barbier, Dictionnaire des ouvrages anonymes, I, p. 208-9. Paul de Beaurepaire-Froment, Bibliographie des Chants Populaires Français, (1910), p. 46; Charles Edmond Henri de Coussemaker, Catalogue de la bibliothèque et des instruments de musique ... (1877), p.122, no. 964. 
Price: 100.00 USD
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6 SÁNDOR, Györy. “A hangrendszer Kiszámításáról és zongorak hangolásáról mérséklet nélkül tiszta viszonyok szerint.”
Offprint from: Magy. Akad. Évkönyvek, IX. Köt. III. Darabja. Budán: Cs. Kir. Egyetemi Nyomdában, 1858. 1858 
4to. 94 pp. Tables. Original printed wrappers; dis-bound. Ms. notations and rubber stamp on top cover. Good. FIRST SEPARATE EDITION. On piano sounds. 
Price: 40.00 USD
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7 [MOZART, Wolfgang Amadeus & Franz Jozef HAYDN] Lawrence Clark POWELL (1906-2001). Musical Blood Brothers: Wolfgang Amadeus Mozart & Franz Josef Haydn.
Malibu, CA: Press of the Prevailing Westerly, 1966. 1966 Signed
Small 8vo. 28 pp. Original green printed wrappers, tipped-in front cover title label. SIGNED by author in ink at title-page. Bookplate of Charlotte Tufts. Very good. Printed by N.V. Drukkerij Trio of The Hague, The Netherlands as a keepsake for the joint meeting of the Roxburghe and Zamorano clubs in Los Angeles, September 1966. PROVENANCE: Charlotte Tamblyn Tufts (1912-2010) was a librarian and booklover who graduated from the Horace Mann High School for Girls in 1929. She received her BA from Sweet Briar College in ’33 and moved to Burbank, CA with her husband, Nathan A. Tufts Jr. She received her master’s degree in 1963, “and worked at the Burbank Public Library developing its Western History Room. She then became librarian at the research library of The Southwest Museum in Highland Park, Calif., and ended her career at age 80 as assistant to a rare-manuscript dealer” (“Charlotte Tamblyn Tufts ’29,” p. 37). “Charlotte Tamblyn Tufts ’29,” Horace Mann Magazine, Spring 2011, p. 37. 
Price: 30.00 USD
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