[I.] No one a little more learned in Astronomy, who has contemplated the order of the heavens, would fail to acknowledge a certain Harmony in the intervals and motions of the Planets; and of what kind and how great it is cannot be neglected by one who professes an accurate treatment of the System of the World and of the heavens. But since there are many things necessary or useful for the Theory and Practice of Music which nevertheless are by no means required for this dissertation on the Harmonic System, yet, lest I should too little satisfy anyone’s desire and curiosity, I shall at least point out not a few Authors, from whom, as from springs, he may perhaps slake this thirst, importunate though it be.

[Margin: The chief Authors on Harmonic Proportions.]

They were: Aristotle (section 19 of the Problems — and there Blancanus, on the Mathematical passages of Aristotle, from marginal number 359); Nicomachus (in the Enchiridion of Harmonics); the Musical fragments of Heraclides Ponticus in Athenaeus; Aristoxenus (the 3 books of the Elements of Harmonics, Antonio Gogava translating); Euclid (in the Elements of Music); Panætius (the book On Geometric and Musical Ratios); Vitruvius (bk. 5, ch. 4 — and there Daniele Barbaro and Wilhelm Philander); Pliny (bk. 2, ch. 22, and his interpreters there); Plutarch (the opuscule On Music, with the exposition of Carlo Valgulio); Ptolemy (the Harmonics, with the 3 books of notes, Antonio Gogava translating); Porphyry (on Ptolemy’s Harmonics); Cassiodorus (On the disciplines, under the title “On Music”); St. Augustine (On Music); Boethius (the book On Music, with the exposition of Franchino Gaffurio and of Lefèvre d’Étaples); Apuleius and Psellus (On Music); Censorinus (On the Birthday, ch. 11); Isidore (Origins, bk. 3, in the chapter on Music); Martianus Capella (bk. 9 of the Philology); Bede (the opuscule On Music); Macrobius (bk. 2 On the Dream of Scipio, chs. 1–5); Guido of Arezzo (in the Introduction to Music); Berno, Abbot of Cluny; John Fro[…]; Otho the Theoger, Bishop; Othobonus[…] in the books On Music; Josquin des Prez (otherwise called Iusquinus); likewise Jean Richafort, Nicolaus [Wollick/Giselin], Adam of Fulda, … Jacob Obrecht the Fleming; Sixt Dietrich; Gerhard à Salice; Andreas Sylvanus; Nicolaus Craën; Vincenzo Lusitano (in the Musical Compendium); Orazio Tigrini; Pietro Pontio; Stefano Vanneo; … Giovanni and Giorgio Valla; Alypius (in the Isagoge of Music); Artusi (On the imperfection of modern Music); Damião de Góis; Gregor Meyer; Giovanni Spataro of Bologna; Nicola Vicentino; Theodoricus of Augsburg; Girolamo Diruta; Heinrich Glarean (in his Dodecachordon); Lodovico Fogliano of Modena (in the Musica Theorica); Franchino Gaffurio; Gioseffo Zarlino (in the Harmonic Institutions); Vincenzo Galilei (in the Dialogues on Music); Marsilio Ficino (in the Compendium on Plato’s Timaeus, chs. 27–35); Scipione Cerreto of Naples; Giovanni Pierluigi da Palestrina; Lodovico Zacconi; Aloysius Denticus; Felice Anerio; Francisco Salinas (Doctor of the School of Salamanca); Sebastián Raval; Illuminato Aiguino; Agostino Pisa (On the percussion of Music); Clavius (in bk. 5 of the Elements, where on Harmonic proportions); Robert Fludd (On the Microcosm and Macrocosm, each of which he contends to have been framed according to Harmonic laws); Johannes Kepler (in the five books of the Harmonics, and in the Mysterium Cosmographicum ch. 12, and in the Epitome of Copernican Astronomy bk. 6, from pp. 840 and 900); Pierre Hérigone (vol. 5 of the Mathematical Course, from p. 573, and more fully in the same vol. 5, p. 802, on Euclid’s Music); Marin Mersenne (on ch. 4 of Genesis, from verse 21, and in the paralipomena of the same work from p. 1854); Mario Bettini (Apiarium 10, Proludium 1); and most recently and most learnedly, Athanasius Kircher (in the 10 books of his Musurgia).

[Margin: The chief Authors on the Praises of Music.]

[II.] But concerning the Praises of Music, and its admirable power for many things — but especially for stirring up and composing the motions of the soul, etc. — [see]: Plutarch (the opuscule On Music); Pietro Vanneo (On the power of Music); Martianus Capella (bk. 9, On the Nuptials of Philology and Mercury, ch. 1); Zarlino (part 1 of the Harmonic Institutions, chs. 2–7, and part 2, chs. 4–9); Mersenne (on ch. 4 of Genesis, verse 21); and Athanasius Kircher (passim, but especially bks. 9 and 10 of the Musurgia).