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tions of a rare book, much less every known translation. The matter embodied in the edition usually decided our choice of edition. Nor did first editions without distinguishing matter tempt us, merely because they were first editions. Such a complete representation of the typographical history of a book may be and is a legitimate desideratum in special collections, but is not necessarily an essential in a general collection as planned by the Library of Congress.
This catalogue is practically the work of Miss Julia Gregory of the Catalogue Division, and, with revisions and certain modifications, represents the catalogue cards prepared since 1902. The adoption of the Anglo-American code of rules some years later will account for occasional slight variations in form between earlier and later entries. Suggestions that would naturally be offered from time to time by the chief of the Music Division, in whose custody the books are kept, have not materially affected the character of Miss Gregory's work. He assumes, however, the full responsibility for the form of this book, and for a few minor deviations from the code of "Catalogue rules, compiled by Committees of the American Library Association and the (British) Library Association," published 1908 with the modifications in force in the Catalogue Division of the Library of Congress. In case of doubt as to the meaning of a collation, etc., the user of the Catalogue is referred to that publication.
To avoid misunderstanding, it may be stated that the entries have as a rule been restricted to books dealing exclusively or in an essential degree with music. Many of the latter are not shelved in the Music Division, but elsewhere, and this accounts for classification symbols other than M, ML and MT to be found in this catalogue. Books dealing only incidentally with music, such as Forkel, for instance, enumerates, have been excluded for practical reasons, though their incidental musical matter may possess a greater scientific value than treatises devoted exclusively to music. Finally, a subject index has been dispensed with after mature reflection, principally because the old books do not lend themselves satisfactorily to modern subject headings, and because a really useful subject index would have involved analytical labor of such magnitude as to be clearly out of proportion to its usefulness for the musicological expert, the person for whom alone it could possess a practical value. At the end of the volume. will be found an "Index to anonymous works, including references to special contents" as compiled by me, and entries for books received too late for insertion in the main alphabet.
Librarian of Congress
Washington, D. C., May, 1913
O. G. SONNECK Chief, Music Division
See SENDSCHREIBEN an die herren verfasser der Freyen urtheile, 1750.
A., J. A.
See KEINSPECK, M. Liliu musice plane 
A B C Dario musico. Bath, Printed for the authors, and sold at the rooms; [etc., etc.] 1780.
1 p. 1., iii, –51 p. 214cm.
Critical notices of the principal musicians of the period, resident in England.
Compendiolo di molti dvbbi, segreti et sentenze intorno al canto fermo, et figvrato, da molti eccellenti & consumati musici dichiarate, raccolte dallo eccellente & scienzato autore frate Pietro Aron deĺ ordine de Crosachieri & della inclita citta di Firenze. In memoria eterna erit Aron, et nomen eius nunquam destruetur. In Milano, Per Io. Antonio da Castelliono stampatore [ca. 1545]
 p. 211cm
Printer's mark on t.-p. Signatures: 4 1. unsigned, A-C, A-D in fours, E in
Libri tres de institvtione harmonica editi a Petro Aaron Florentino interprete Io. Antonio Flam. Foro Cornelite. [Colophon: Impressum Bononiæ in aedibus Benedicti Hectoris bibliopolæ bononiensis. Tempore pontificatus domini nostri Leonis pape decimi. мCCCCCXVI]
62 numb. 1. 201cm.
Title within ornamental border; printer's mark at end. Leaf 39 numbered 38.
Lvcidario in mvsica di alcvne oppenioni antiche, et moderne con le loro oppositioni, & resolutioni, con molti altri secreti appresso, & questioni da altrui anchora non dichiarati, composto dall' eccellente, & consumato musico Pietro Aron del ordine de Crosachieri, & della citta di Firenze. [Colophon: In Vinegia appresso Girolamo Scotto. Nel M.D.XLV]
12 unnumb. 1., 41 numb. 1. illus. (port.) 21x15cm.
Toscanello in mvsica di messer Piero Aron . . . nvovamente stampato con laggivnta da lvi fatta et con diligentia corretto ... [Colophon: Stampato in Vinegia per maestro Bernardino & maestro Matheo de Vitali Venitiani el di v. de iulii mille cinquecento. XXIX.]  p. illus. 29cm
Initials. Signatures: a, A-K in fours, L in six, M-N in fours, O in six. On verso of [a iiii] is a full page illustration representing Aaron in his lecture room which appears also in his "Trattato," 1525. In this copy the signature L 6, originally blank, contains in contemporary (?) hand "Versus de ligaturis i musica" and commentary.
Trattato della natvra et cognitione di tvtti gli tvoni di canto figvrato non da altrvi piv scritti, composti per Messer Piero Aaron mvsico fiorentino canonico in Rimini maestro di casa del revedo et magnifico cavaliere hierosolimitano Messer Sebastiano Michele priore di Vinetia. [Colophon: Impresso in Vinegia per Maestro Bernardino de Vitali Venitiano el dí qvarto di agosto. M.CCCCC.xxv. Con privilegio]
 p. illus. 30cm.
Signatures: 3 1. unsigned, a in three, b-d in twos, e-g in fours.
Title within ornamental border, consisting of an architectural design supported by columns, with portraits of famous classical authors, and at foot the Muses in two groups; initials.
Bound with L. of C. copy of the author's Toscanello in musica, is a supplement to the present work, comprising 12 p., sig. aa-[aa6], with colophon "Stampato in Vinegia per Bernardino de Vitali Venetiano. M.D.XXXI," but without title.
Abbé le fils.
See SAINT-SEVIN, JOSEPH BARNABÉ.
Abercorn, James Hamilton, 7th earl of, 1685-1744.
Abguerbe, Quentin Godin d'.
See GODIN D'ABGUERBE, QUENTIN.
Abhandlung von den pantomimen, historisch und critisch ausgeführt. Hamburg, C. S. Geissler, 1749.
6 p. 1., 81 p. 184cm.
Preface dated: Hamburg, im jennermonate, 1749.
Attributed to Johann Mattheson by Paul Trommsdorff (Zeitschrift für bücherfreunde x 3 beiblatt p. 7) on the authority of the Gesamtkatalog der preussischen bibliotheken. În the British museum catalogue the work is ascribed to Johann Christoph Strodtmann.
Escuela para tocar con perfeccion la guitarra de cinco y seis ordenes, con reglas generales de mano izquierda y derecha. Trata de las cantorias y pasos dificiles que se pueden ofrecer, con método fácil de executarlas con prontitud y limpieza por una y otra mano. Compuesta por D. Antonio Abreu Ilustrada y aumentada con varios divertimientos honestos y útiles para los aficionados á este instrumento: por el P. F. Victor Prieto ... La da a luz su apasionado N. N. Salamanca, En la imprenta de la Calle del prior, 1799. 107 p. 3 pl. (music) 20cm.