214 Bibliography

———. “Thinking in Music”. Journal of Music Theory Pedagogy 25 (2011): 217–33.

Schubert, Peter and Guido, Massimiliano. “Back into the Classroom. Learning Music
through Historical Improvisation”, in Improvisation and Music Education: Beyond the
Classroom. Edited by Hajay Heble and Mark Laver, 131–39. London: Routledge, 2016.
Seay, Albert ed. Guilielmi Monachi: De preceptis artis musicae. Rome: American Institute
of Musicology, 1965.
Sheehy, August and Steinbeck, Paul. “Improvisation, Analysis, and Listening Otherwise”.
Music Theory Online 19/2 (2013).
Sigüenza, José de. Historia de la Orden de San Jerónimo. Edited by Ángel Weruaga Prieto.
Valladolid: Gobierno de Castilla, 2000.
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown:
Wesleyan University Press, 1998.
Solis, Gabriel and Nettl, Bruno, eds. Musical Improvisation: Art, Education, and Society.
Urbana: University of Illinois Press, 2009.
Spiridionis a Monte Carmelo. Nova Instructio pro pulsandis organis spinettis manuchor-
diis etc., Pars Tertia & Quarta, ed. E. Bellotti, Tastata Opere d’intavolatura d’organo e
cimbalo TA 21. Latina: Il Levante Libreria Editrice, 2008.
———. Pars Prima (Bamberg, 1670), Pars Secunda (Bamberg, 1671), ed. Edoardo
Bellotti, Tastature Musiche intavolate per strumenti da tasto N. 11. Colledara: Andromeda
Editrice, 2003.
Stevenson, Robert, ed. La Música en la Catedral de Sevilla, 1478–1606. Documentos
para su Estudio. Madrid: SEDeM, 1985.
Suárez Pajares, Javier. La música en la catedral de Sigüenza, 1600–1750. Madrid: Instituto
Complutense de Ciencias Musicales (ICCMU), 1998.
Sudnow, David. Ways of the Hand: The Organization of Improvised Conduct. Cambridge
Mass.: MIT Press, 1993.
Sutherland, David A., ed. The Lyons Contrapunctus (1528). Madison: A-R Editions, 1976.
Taruskin, Richard. “The Limits of Authenticity: A Discussion”. Early Music 12 (1984).
———. The Oxford History of Western Music, 5 vols. Oxford & New York: Oxford
University Press, 2005.
Tinctoris, Johannes. Liber de arte contrapuncti, (ca. 1477). Translated and edited by Albert
Seay, Vol. 5 of Musicological Studies and Documents. Rome: American Institute of
Musicology, 1961.
Toivainen, Petri. “Modeling the Target-note Technique of Bebop-style Jazz ­Improvisation—­
an Artificial Neural-network Approach”. Music Perception 12/4 (1995): 399–413.
Torre, Lola de la, ed. La Música en la Catedral de Las Palmas, 1514–1600. Documentos
para su Estudio. Madrid: SEDeM, 1983.
Trachier, Olivier. Aide-mémoire du contrepoint du XVIe siècle. Paris: Durand, 2009.
Trachier, Olivier and Chevalier, Simonne, eds. Gallus Dressler, Praecepta musicae poëticae.
Paris-Tours: Minerve, 2001.
Treitler, Leo. “Speaking of the I-World”, Archiv für Musikwissenschaft 72/1 (2015): 1–18.
Tuzzo, Anna Maria. “Un Manoscritto Anonimo nella Gallipoli del ‘700”’. Tesi triennale,
Conservatorio di Musica Tito Schipa, Lecce, 2013.
Urquhart, Dan. “Francisco de Montaños’s Arte de Musica Theorica y Pratica: a Trans-
lation and Commentary”. PhD diss., Eastman School of Music, Rochester University,
1969.
van Tour, Peter. Counterpoint and Partimento: Methods of Teaching Composition in Late
Eighteenth-Century Naples. Uppsala: Uppsala University, 2015.