List of music theorists

Music theory has existed since the advent of writing in ancient times. The earliest known practitioners include primarily Greek and some Chinese scholars. A few Indian sages such as Bharata Muni (Natya Shastra) are also credited with important treatises. Though much is lost, substantial treatises on ancient Greek music theory survive, including those by Aristoxenus, Nicomachus, Ptolemy and Porphyry. The influential Yue Jing Classic of Music from China is lost,[1] though a few Ancient Chinese theorists from the Han dynasty and later have surviving contributions, such as Jing Fang and Xun Xu.

Left to right, from top left: Ptolemy (after 83 – 161); Al-Farabi (872–950); Safi al-Din al-Urmawi (c. 1216 – 1294); Nicola Vicentino (1511–1575/76); Jean-Philippe Rameau (1683–1764) Heinrich Schenker (1868–1935)

Writers of late antiquity—particularly Boethius, Cassiodorus and Isidore of Seville—were crucial in translating and transmitting much thought on music theory from classical antiquity to medieval Europe.[2][3] However, the information relayed to the Post-classical era was minimal and European medieval theorists frequently misinterpreted what little Greek writings had been preserved.[4] Important medieval European theorists include Hucbald, Guido of Arezzo, Johannes Cotto, Franco of Cologne, Philippe de Vitry. Many medieval music manuscripts of Europe were anonymous, and later compilers such as Martin Gerbert and Edmond de Coussemaker assigned names to unknown authors,[5] such as 'Anonymous IV'. Concurrent with medieval Europe, scholars of the emerging Islamic Golden Age often more readily and thoroughly engaged with ancient Greek music treatises.[6] Many Arab and Persian music theorists of this time have surviving works, such as Abu al-Faraj al-Isfahani, Safi al-Din al-Urmawi, Qutb al-Din al-Shirazi and Abd al-Qadir Maraghi. Theorists of the Byzantine Empire include George Pachymeres and Manuel Chrysaphes.

By the 15th century, European theorists were readily discussing the qualities of Renaissance music, with theorists such Johannes Tinctoris and Gioseffo Zarlino making important contributions to the study of counterpoint. Zarlino and Nicola Vicentino developed new theories on musical tuning, a topic which Vicentino publicly debated on with theorist Vicente Lusitano. At this time, the quality and quantity of Turkic musical sources increased, due to the rise of the Ottoman Empire.[7] This laid the foundation of a 18th century musical golden age in Eastern Europe and the Middle East, exemplified by composer-theorists such as Kasımpaşalı Osman Effendi, Dimitrie Cantemir and Abdülbaki Nasır Dede.[8] Meanwhile, the Age of Enlightenment and the common practice period in Europe led to substantial changes in the nature of published music theory.[9]

Antiquity
Name Lifetime Nationality Major writing Known for Ref(s)
Archytas fl. first half of the 4th century BCE Greek Nothing substantial survives; known through the citations of later authors Naming the harmonic mean; may have been the first author to describe the quadrivium [10]
Aristoxenus c. 375–360 BCE – died ? Greek Elementa harmonica The oldest surviving substantial work of music theory [11]
Alypius fl. 4th century BCE Greek Eisagōgē mousikē (Introduction to Music) Includes the most comprehensive "tabulation of ancient Greek musical notation". Includes commentary on a variety of topics: notes, intervals, scales, genera, tonoi, modulation, and melic composition [12]
Archestratus fl. early 3rd century BCE Greek On auletes (uncertain attribution) Describing the pyknon [13]
Ptolemais of Cyrene Perhaps fl. 250 BCE Greek The Pythagorean Principles of Music Wrote concerning the proper roles of reason and sensory experience in the study of music. Known primarily through a reference by Porphyry; the only known female music theorist of antiquity. [14]
Eratosthenes c. 276 – c. 196 BCE Greek Only fragments survive Calculation of the tuning of the degrees of the tetrachords [15]
Didymos fl. 2nd half of 1st century BCE Greek Concerning the Difference between the Pythagorean and Aristoxenian Theories of Music; Concerning Pythagorean Philosophy Chromatic tetrachords. Most of his writing is lost; chiefly known through citations and fragments relied by Porphyry and Ptolemy [16]
Jing Fang 78–37 BCE Chinese Writings included in the Huainanzi compilation Discovered that 53 perfect fifths was approximate to 31 octaves while creating a musical scale of 60 tones [17][18]
Dionysius the Areopagite 1st century CE Roman Concerning the Divine Hymns The work is now lost, but was purportedly one of the only treatises that discussed the Byzantine rite [19]
Nicomachus of Gerasa fl. late 1st – early 2nd century CE Greek Harmonikon encheiridion (Manual of Harmonics); Theologoumena arithmētikēs (Theology of Arithmetic) The only significant extant music theory works between Aristoxenus/Euclid and Ptolemy. The Manual of Harmonics first transmits Pythagoras' purported discovery that pitch is dependent on numbers [20]
Ptolemy after 83 – 161 CE Greco-Egyptian Harmonika (Harmonics) Among the most comprehensive and through music theory works of antiquity [21]
Cleonides After the 1st century CE Eisagōgē harmonikē (Introduction to Harmonics) Introduces Aristoxenus' harmonic system. Influenced Manuel Bryennius considerably [22]
Theon of Smyrna fl. early 2nd century Greek On Pythagorean Harmony [23]
Xun Xu c. 221 – 289 Chinese Linked the Heptatonic scale with the Shí-èr-lǜ. Developed a new fingerhole system for the dizi [24]
Porphyry c. 232/233 – c. 305 Greek Kata Christianōn (Against the Christians); De abstinentia (About Abstinence); Eis ta Harmonika Ptolemaiou hypomnēma Includes considerable commentary on older works, some of which are not extant only known from his references. He may have been the earliest Western writer to criticize secular music for its purported "sensual attraction"—an opinion that later Church Fathers referenced favorably [25]
Gaudentius fl. 3rd – 4th century Greek Harmonikē eisagōgē (Harmonic Introduction) Synthesized the music theory of Pythagoras and Aristoxenus. Influenced Cassiodorus considerably [26]
Aristides Quintilianus fl. late 3rd and early 4th centuries Greek Peri mousikēs (On Music) [27][28]
He Chengtian 370–447 Chinese Treatise on Harmonics Developed a theory of equal temperament [29][30]
Bacchius fl. 4th century Greek Eisagōgē technēs mousikēs (Introduction to the Art of Music) [31]
Martianus Capella fl. early 5th century De nuptiis Philologiae et Mercurii (particularly Book 9) Includes a translation of Aristides Quintilianus's On Music [32]
Shen Yue 441–513 Chinese Treatise on Harmonic and Celestial Systematics (included in the Songshu) Includes Xun Xu's developed dizi fingerhole system [29]
Boethius c. 480 – 524 Roman De institutione musica [33]
Cassiodorus c. 485 – 585 Roman Institutiones Divinarum et Saecularium Litterarum [34]
Isidore of Seville circa 560 – 636 Spanish Etymologiarum sive Originum libri xx (chapters 15–23 deal with music) [34]

8th–14th centuries
See also: List of medieval music theorists
Name Date Major writing Known for Ref(s)
Al-Khalil ibn Ahmad al-Farahidi 718 – 786 ʿArūḍ and its application to music [35][36]
Yunus al-Katib al-Mughanni fl. late-8th century Kitab al-Nagham [37]
Al-Kindi 801–873 Al-risāla al-kubrā fī al-ta’līf (Grand treatise on composition) [38]
Ibn Khordadbeh 820–912 Kitāb al-lahw wa-l-malahi Description of music in pre-Islamic Persia [39]
Aurelian of Réôme fl. 840–850 Musica disciplina Earliest extant treatise on medieval music [40][41] [42]
Johannes Scottus Eriugena c. 810 – c. 877 De divisione naturae and De divisione naturae Mentions organum (scholars doubt this refers to polyphony) [43]
Hucbald c. 850 – 930 De musica (formerly known as De harmonica institutione) "One of the foremost expositors of music theory in the Carolingian era" [40][44]
Anonymous 8 9th century Musica enchiriadis earliest extant discussion of polyphonic singing and the first chant melodies preserved in a precise pitch notation [45]
Abu Ahmad Monajjem 855 or 866 – 912 Resāla fi’l-mūsīqī Oldest extant Middle Eastern treatise with a detailed description of modal structure [46]
Regino of Prüm c. 842 – 915 De synodalibus causis and Epistola de armonica institutione "Correct the intonations and confirm the modes of the antiphons and responsories of the Mass and Office" [47][48]
Al-Farabi 872–950 Kitāb al-mūsīqī al-kabīr (Great book on music) "most imposing of all Arabic works on music" [49]
Abu al-Faraj al-Isfahani 897–967 Kitab al-Aghani (Book of Songs)
Notker Labeo 950–1022
Anonymous, of the Brethren of Purity second half of the 10th century Rasa’il Ikhwan al-Safa, Epistle 5: On Music [50][51]
Guido of Arezzo c. 991–992 Micrologus [52][53]
Avicenna (Ibn-Sīnā) c. 980 – 1037 Danishnama-i 'Alai
Berno of Reichenau d. 1048 Musica Seu Prologus In Tonarium He compiled a tonarius, dealing with the organisation of the church chants into ‘tones’ – eight modes of the Gregorian chant.
Ibn Zaylah d. 1048 al-Kāfī fī al-mūsīqī [54][55]
Hermannus Contractus 1013–1054
Michael Psellos 1018 – after 1078 Eis tēn psychogonian tou Platōnos
Prolambanomena eis tēn rhythmikēn epistēmēn
On the Resounding Hall at Nicomedia		 [56]
Aribo Scholasticus fl. 1068–1078 De musica also known as simply "Aribo." Created a "caprea," a diagram showing modal tetrachords superimposed on the gamut. [57]
Wilhelm of Hirsau died 1091 De musica [58]
Frutolf of Michelsberg mid-11th century – 1103 Brevarium compiler of treatises, in particular Boethius and Berno of Reichenau. [59]
Theogerus of Metz c. 1050 – c. 1120 Musica [60]
Johannes Cotto fl. 1100 De musica
Avempace c. 1085 – 1138 Risālah fī l-alḥān [61]
Hermann of Carinthia fl. 1138–43 De essentiis translating Arabic treatises into Latin [62]
Guido of Eu fl. 1130s supposed author of Regule de arte musica earliest Cistercian treatise on music theory. [63]
Theinred of Dover (Theinredus Doverensis) 12th century De legitimis ordinibus pentachordorum et tetrachordorum discussion of chromatically altered tones in plainsong [64]
Tanchi (堪智) (1163 – 1237?) Introduced strict music theory of shōmyō, based on that of gagaku. This included standards for modulation, rhythm, pitch and new five-tone notation system (goin-bakase) [65]
Ficker Anonymous early 13th century Ars organi [66]
Franco of Cologne fl. mid to late 13th century Ars cantus mensurabilis Franconian Notation [67]
Safi al-Din al-Urmawi c. 1216 – 1294 Kitab al-Adwār and Risālah al-Sharafiyyah fi 'l-nisab al-taʾlifiyyah (The Sharafiyyah Letter on the Art of Composing) [68]
Bartholomeus Anglicus before 1203 – 1272
George Pachymeres 1242 – c. 1310 Syntagma tōn tessarōn mathēmatōn, arithmētikēs, mousikēs, geōmetrias kai astronomias [69]
Egidius de Zamora fl. 1260–1280 Ars musica noted for inclusion of Spanish instruments and description of organ used in church. [70]
Amerus fl. 1271 Practica artis musice [71]
Hieronymus of Moravia died after 1272 Tractatus de musica [72]
Anonymous IV fl. 1270 – 1280 De mensuris et discantu
Magister Lambertus fl. c. 1270 Tractatus de musica [73]
Engelbert of Admont c. 1250 – 1331 De musica tractatus
Jacob of Liège c. 1260 – after 1330
Johannes de Garlandia fl. 1270–1320 De Mensurabili Musica Explains the rhythmic modes, particularly that which the Notre-Dame school engaged in
Petrus de Cruce late 13th century
Johannes Balox late 13th century Gaudent brevitate moderni [74]
Petrus de Picardia mid-13th century Ars motettorum compilata breviter [75]
Elias Salomo late 13th century Scientia artis musice [76]
Qutb al-Din al-Shirazi c. 1236 - 1311 Dorrat al-tāj fi ḡorrat al-dabbāj [77]
Philippe de Vitry c. 1291 – 1361
Hugo Spechtshart c. 1285 – 1359/60 Flores musicae omnis cantus Gregoriani
Johannes Vetulus de Anagnia 1st half of 14th century] Liber de musica [78]
Petrus frater dictus Palma ociosa fl. early 14th century Compendium de discantu mensurabili [79]
Johannes de Grocheio fl. 1300 Ars musicae
Manuel Bryennius 14th century Harmonika [80]
Walter Odington died 1330
Johannes de Muris c. 1290 – after 1344
Marchetto da Padova fl. 1274–1319
Robert de Handlo early 14th century [81]
John Hanboys fl. c. 1370 Summa [82]
John of Tewkesbury fl. 1351–1392 Quatuor principalia musice [83]
al-Āmulī died 1352 Nafā’is al-funūn His Nafā’is al-funūn on the quadrivium contains a chapter on music theory; it is one of the few surviving Persian sources dated in the time between the works of Qutb al-Din al-Shirazi and Abd al-Qadir Maraghi [84]
Ibn Kurr died 1357 Ġāyat al-matḷūb fī 'ilm al-adwār wa-'l-dụrūb (The Enticing Roads to Rhythms and Modes) Examines musical discourse of 14th-century Cario [85]
Johannes Boen died 1367 Ars [musicae], Musica [86]
Johannes Ciconia 1360–1412
Philippus de Caserta late 14th century
Gabriel Hieromonachos fl. first half of the 15 century May be author of a Discourse on the Signs of Chant [87]
Manuel Chrysaphes fl. 1440–1463 On the Theory of the Art of Chanting and On Certain Erroneous Views That Some Hold about It [88][27]

15th and 16th centuries
Name Lifetime Major writing Known for Ref(s)
Fernand Estevan fl. 1410 Reglas de canto plano è de contrapunto, è de canto de organo [89]
Kırşehrî Yusuf fl. 1411 Kitâbü’l Edvâr [7]
Prosdocimus de Beldemandis d. 1428 [7]
Abd al-Qadir Maraghi d. 1435 Makâsıd al-Alhân Corpus attributed to him was a seminal work of the 17th century renaissance of Ottoman music [7][8][90]
Giorgio Anselmi c. 1386 – c. 1440/43 [91]
Ugolino of Forlì
Also Ugolino of Orvieto		 c. 1380 – c. 1452 [92][93]
Fatḥallāh al-Shirwānī d. approximately 1453 Majalla fī 'l-mūsīqī [Codex on music] [94]
Antonius de Leno early 15th century Regulae de contrapunto (title created by Coussemaker from incomplete treatise) [95]
John Hothby c. 1410 – 1487
Johannes Gallicus c. 1415 – 1473 Praefatio libelli musicalis de ritu canendi vetustissimo et novo First 15th century theorist to describe attributes of Renaissance music.[96] [96]
Nicolaus Polonus 15th-century Tractatus musicalis ad cantum gregorialem brevis et utilis Authored an introduction on singing [97]
Ladikli Mehmet Chelebi fl. 1483 Zeynü’l-elḥân fî ʿilmi’t-teʾlîf ve’l-evzân [98]
Johannes Tinctoris c. 1435 – 1511
Bartolomeus Ramis de Pareia c. 1440 – after 1491
Muhammad al-Ladiqi d. 1494 Risâla al-fathiyya fi’l-al-müsïqï [99]
Ioannis Plousiadinos d. approximately 1500 His system of parallage [100][101]
Adam von Fulda 1445–1505
Johannes Cochlaeus 1449–1552
Hızır bin Abdullah fl. mid-15th century Kitābü’l-edvār His work on fragmentary modal structures (terkîb), in which he defined a total of 240 modes.[102] [90]
Hadji Büke fl. mid-15th century Mukaddimetü’l Usûl Noted for his pioneering work on compound (mürekkep) makams. [103]
Hace Abdülaziz fl. mid-15th century Nekavetü’l Edvâr [7]
Franchinus Gaffurius 1451–1522 Practica musicae, 1496
Nicolò Burzio 1453–1528 Musices opusculum [104]
Giovanni Spataro 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 [105]
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 c. 1465 – early 16th century Musica and Tractatus de sphera [106]
Michael Keinspeck c. 1470 – mid-16th century Lilium musicae planae [107]
Lodovico Fogliano c. 1475 – 1542 Musica theorica (Venice, 1529) [108]
Johannes Aventinus 1477–1534
Pietro Aaron c. 1480 – c. 1550
Nicolaus Wollick c. 1480 – 1541 Enchiridion musices (1512) [109]
Sebastian z Felsztyna c. 1480/1490? – after 1543
Melchior Schanppecher born c. 1480 Opus aurem musicae (Cologne, 1501) [110]
John Tucke c. 1482 – after 1539 His notebook (British Library, Additional Ms. 10336) [111]
Martin Agricola 1486–1556 [112]
Heinrich Glarean 1488–1563
Georg Rhau 1488–1548
Giovanni Del Lago c. 1490 – 1544 Correspondence with Giovanni Spataro and Pietro Aaron[113] [113]
Giovanni Maria Lanfranco c. 1490 – 1545 Scintille di musica Author of the earliest treatise on music theory in Italian [114]
Andreas Ornithoparchus born c. 1490 Musicae activae micrologus (Leipzig, 1517) [115]
Bonaventura da Brescia late 15th century Breviloquium musicale (Brescia, 1497) (later editions known as Regula musicae planae) [116]
Gulielmus Monachus late 15th century De preceptis artis musicae [117]
Guillermo de Podio late 15th century Ars musicorum (Valencia, 1495); In enchiridion de principiis musicae [118]
Kadızade Mehmet Tirevî late 15th century Risâle-i Mûsîkî [7]
Silvestro Ganassi dal Fontego c. 1492 – mid-16th century Opera intitulata Fontegara (Venice, 1535) Regola Rubertina (Venice, 1542) Lettione Seconda (Venice, 1543)
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 early 16th century Opusculum musices (Vienna, 1509) [119]
Vicente Lusitano 16th century Introdutione facilissima et novissima de canto fermo (Rome, 1553)
Seydî fl. early 16th century Al-Matlah [90]
Auctor Lampadius c. 1500 – 1559 Compendium musices, tam figurati quam plani cantus, ad formam dialogi (Berne, 1537, 5/1554) [120]
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) [121]
Nikolaus Listenius born c. 1510 Rudimenta musicae (1533) [122]
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 1520–1581 Illuminata de tutti i tuoni di canto fermo (Venice, 1562) [123]
Vincenzo Galilei late 1520–1591
Hermann Finck 1527–1558
Francisco de Montanos c. 1528 – after 1592 Arte de música (1592) [124]
Ercole Bottrigari 1531–1612
Pietro Pontio 1532–1595
Gallus Dressler 1533 – c. 1580/89
Orazio Tigrini c. 1535 – 1591 Il compendio della musica nel quale si tratta dell’arte del contrapunto [125]
Giovanni Maria Artusi c. 1540 – 1613
Giulio Caccini c. 1545 – 1618
Cyriakus Schneegass 1546–1597
Philibert Jambe de Fer fl. 1548–1564
Riccardo Rognoni c. 1550 – 1620 Passaggi per potersi esercitare nel diminuire, Venice 1592
Elway Bevin c. 1554 – 1638
Girolamo Diruta c. 1554 – after 1610
Lodovico Zacconi 1555–1627
Sethus Calvisius 1556–1615
Johannes Nucius c. 1556 – 1620
Thomas Morley c. 1557 – 1602
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
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
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
Tomás de Santa María died 1570 Arte de tañer fantasía
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 [126]
Giovanni Battista Bovicelli fl 1592–94 Regole, passaggi di musica, madrigali et motetti passeggiati, Venice, 1594
Francesco Rognoni Taeggio second half of the 16th century – after 1626 Selva de varii passaggi, Milan, 1620

17th century
Name Lifetime Major writing Known for Ref(s)
John Coprario c. 1570 – 1626
Johannes Kepler 1571–1630 Harmonices Mundi [127]
Giulio Cesare 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
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
Antoine de Cousu c. 1600 – 1658
Marco Scacchi c. 1600 – 1681/87
Athanasius Kircher 1601–1680
Christopher Simpson c. 1605 – 1669
Wojciech Bobowski c. 1610–1675 Mecmûa-i Sâz ü Söz Introduction of staff notation to Ottoman music, which would overtake abjad notation in the 19th century. [128][129]
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
Matthew Locke 1621–1677
John Playford 1623–1686
Kasımpaşalı Osman Effendi fl. c. 1623 [8]
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
Çengi Yusuf Dede fl. c. 1650 [130]
Johann Georg Ahle 1651–1706
Joseph Sauveur 1653–1716
Georg Muffat 1653–1704
Nâyî Osman Dede fl. c. 1680–1729 Rabt-ı Tâbirât-ı Mûsikî [131]
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
Nicola Matteis fl. 1670–c. 1698
Friedrich Erhard Niedt 1674–1717
Charles Masson fl. 1680–1700
De La Voye-Mignot died 1684

18th century
NameLifetimeMajor writingKnown for
Johann Joseph Fux 1660–1741 Gradus ad Parnassum Palestrinian style of Renaissance polyphony
Johann Kuhnau1660–1722
Tomáš Baltazar Janovka1669 –1741
Francesco Gasparini1661–1727
Johann Heinrich Buttstett1666–1727
Johann Christoph Pepusch1667–1752
David Kellnerc. 1670 – 1748
Dimitrie Cantemir[7][8] 1673 – 1723 Kitâbu 'İlmi'l-Mûsiki alâ Vechi'l-Hurûfât (or simply Edvâr) The empirical school of Ottoman music theory, Cantemir notation, description of pseudo-makam[132]
Georg Philipp Telemann1681–1767
Johann Mattheson1681–1764
Jean-Philippe Rameau1683–1764Treatise on Harmony reduced to its natural principles
Johann David Heinichen1683–1729
Meinrad Spieß1683–1761
Johann Gottfried Walther1684–1748
Alexander Malcolm1685–1763
Johann Georg Neidhardt1685–1739
François Campionc. 1686 – 1748
Francesco Geminiani1687–1762
Giuseppe Tartini1692–1770
Francesco Antonio Vallotti1697–1780
Jakob Adlung1699–1762
Christoph Gottlieb Schröter1699–1782
William Tans'ur1700–1783
Georg Andreas Sorge1703–1778
Gottfried Kellerdied 1704
Giovanni Battista Martini1706–1784
Leonhard Euler1707–1783Tentamen novae theoriae musicae (Attempt at a New Theory of Music)See Leonhard Euler#Music
Johann Adolph Scheibe1708–1776
Joseph Riepel1709–1782
Lorenz Christoph Mizler Kolof1711–1778
Jean-Jacques Rousseau1712–1778
Nicola Sala1713–1801
Carl Philipp Emanuel Bach1714–1788
Jean le Rond d'Alembert1717–1783
Friedrich Wilhelm Marpurg1718–1795
Leopold Mozart1719–1787
Johann Friedrich Agricola1720–1774
Johann Georg Sulzer1720–1779
Martin Gerbert1720–1793
Kevserî[132] fl. 1720–1740 Kevserî Mecmuası
Johann Philipp Kirnberger1721–1783
Giuseppe Paolucci1726–1776
Antonio Soler1729–1783
Luigi Antonio Sabbatinic. 1732 – 1809
Johann Georg Albrechtsberger1736–1809
Vincenzo Manfredini1737–1799
Panayotis Chalatzoglou[133] fl. 1740–1748 Comparative study of Ottoman and Byzantine modal systems.[134]
Petros Peloponnesios[135] 1740–1788 His codex of music
Johann Abraham Peter Schulz1747–1800
Maximilian Stadler1748–1833
Georg Michael Telemann1748–1831
Johann Nikolaus Forkel1749–1818
Heinrich Christoph Koch1749–1816
Abbé Vogler1749–1814
Kyrillos Marmarinos[133] fl. 1749
Augustus Frederic Christopher Kollmann1756–1829
Daniel Gottlob Türk1756–1813
Luigi Cherubini1760–1842
Jérôme-Joseph de Momigny1762–1842
Abdülbâki Nâsır Dede[7][136] 1765–1821 Tedkîk u Tahkîk
Bedřich Diviš Weber1766–1842
Hampartsoum Limondjian[137][138] 1768–1839 Hampartsoum notation
Józef Elsner1769–1854
Anton Reicha, (alias Antoine-Joseph Reicha, alias Antonín Reijcha)1770–1836
Alexandre-Étienne Choron1771–1834
Charles Simon Catel1773–1830
Matthew Peter King1773–1823
Johann Anton André1775–1842
Johann Bernhard Logier1777–1846
Gottfried Weber1779–1839

19th century
NameLifetimeMajor writingKnown for
Christian Theodor Weinlig 1780–1842
François-Joseph Fétis 1784–1871
Simon Sechter 1788–1867
Carl Czerny 1791–1857 Theoretico-Practical Piano School Volume 4, Vienna, 1847
Moritz Hauptmann 1792–1868
Adolf Bernhard Marx c. 1795–1866
Sarah Mary Fitton c. 1796–1874
Johann Christian Lobe 1797–1881
Siegfried Dehn 1799–1858
Auguste Barbereau 1799–1879
Joseph d'Ortigue 1802–1866
Edmond de Coussemaker 1805–1876
Henri Reber 1807–1880
Carl Friedrich Weitzmann 1808–1880
Ernst Friedrich Richter 1808–1879
Alfred Day 1810–1849 A Treatise on Harmony
George Alexander Macfarren 1813–1887
Hermann von Helmholtz 1821–1894
Anton Bruckner 1824–1896
Frederick Arthur Gore Ouseley 1825–1889
Rudolf Westphal 1826–1892
François-Auguste Gevaert 1828–1908
František Zdeněk Skuherský 1830–1892
Salomon Jadassohn 1831–1902
Heinrich Bellermann 1832–1903
Arthur von Oettingen 1836–1920
Ebenezer Prout 1835–1909
Théodore Dubois 1837–1924
John Stainer 1840–1901
Bernhard Ziehn 1845–1912
Otakar Hostinský 1847–1910
Hugo Riemann 1849–1919
Vincent d'Indy 1851–1931
Percy Goetschius 1853–1943
Guido Adler 1855–1941 Umfang, Methode und Ziel der Musikwissenschaf (1885)
Sergei Taneyev 1856–1915 Convertible Counterpoint in the Strict Style
Ludwig Thuille 1861–1907

20th century – present
Name Lifetime Major writing Known for Ref(s)
Stephan Krehl 1864–1924 Kontrapunkt (1908) Attempted to synthesize harmony and counterpoint [139]
André Gedalge 1868–1926 Traité de la fugue (1901) Fugue theory [140][141]
Alfred Lorenz 1868–1939 Das Geheimnis der Form bei Richard Wagner (1924–1933) Musical analysis, particularly of Richard Wagner's works [142][143]
Heinrich Schenker 1868–1935 Free Composition, Counterpoint, Harmony Founding Schenkerian analysis [144][145]
August Otto Halm 1869–1929 Die Symphonie Anton Bruckners (1914)
Suphi Ezgi 1869–1962 Nazarî ve Amelî Türk Müzikisi (1933–1953) [133]
Rauf Yekta 1871–1935 La musique turque (1922) [133]
Arnold Schoenberg 1874–1951 Style and Idea Twelve-tone technique, Serialism
Donald Tovey 1875–1940 Essays in Musical Analysis (1935–1939, 1944) Musical analysis [146][147]
Julián Carrillo 1875–1965 Sonido 13 (1948) The Sonido 13 theory [148]
Arnold Schering 1877–1941
Boleslav Yavorsky 1877–1942 [149][150]
Zdeněk Nejedlý 1878–1962
Otakar Zich 1879–1934
Hüseyin Sadeddin Arel 1880–1955 Türk Musikisi Kimindir? The nationalist school of Ottoman classical music [151]
Marion Bauer 1882–1955
Mario de Andrade 1883–1945
Rudolph Reti 1885–1957 The Thematic Process in Music (1951) Musical analysis [152]
Ernst Kurth 1886–1946
Charles Seeger 1886–1979 formulation of dissonant counterpoint [153]
Adele T. Katz 1887–1979
Iurii Nikolaevich Tiulin 1893-1978 [154]
Nicolas Slonimsky 1894–1995 Thesaurus of Scales and Melodic Patterns (1947)
Paul Hindemith 1895–1963 Unterweisung im Tonsatz
[The Craft of Musical Composition]		 [155]
Joseph Schillinger 1895–1943 The Schillinger System of Musical Composition (1941) System of music composition [156]
Howard Hanson 1896–1981 Harmonic Materials of Modern Music: Resources of the Tempered Scale (1960) Nascent development of set theory
Erwin Ratz 1898–1973 Einführung in die musikalische Formenlehre
[Introduction to Musical Form]		 Musical analysis of form and structure [157]
Felix Salzer 1904–1986
Ernst Oster 1908–1977
George Perle 1915–2009 Serial Composition and Atonality (1962) Methods of atonality [158]
Milton Babbitt 1916–2011 Numerous; "Some Aspects of Twelve-Tone Composition" (1955); "Twelve-Tone Invariants as Compositional Determinants" (1960); and "Set Structure as a Compositional Determinant" (1961) Serialism [159]
Edward T. Cone 1917–2004 Musical Form and Musical Performance (1968) Musical analysis [160]
Muḥammad Ṣalāḥ al-Dīn 1917–1965 Taṣwīr al-Alḥān al-‘Arabiyyah (1950)
[The transposition of Arab melodies]		 Division of the octave into 24 quarter tones, transposition of the Arabic maqam [161]
Iannis Xenakis 1922–2001 Formalized Music (1963) Writing on music composition based on math [162]
George Russell 1923–2009 Lydian Chromatic Concept of Tonal Organization (1953) Pioneering music theory systems centered around jazz [163]
Jaroslav Volek 1923–1989
Ernő Lendvai 1925–1993 Bartók's Style (1955) Musical analysis, particularly of Béla Bartók's works, such as with the axis system [164]
Allen Forte 1926–2014 Tonal Harmony (1962) Musical analysis, Schenkerian analysis and set theory [165]
William Ennis Thomson 1927–2019 "Pitch Frames as Melodic Archetypes" (2006) Cognitive and perceptual foundations of music [166]
Wallace Berry 1928–1991 Structural Functions in Music (1976); Musical Structure and Performance (1989) Musical analysis, particularly on formal structure [167]
Harold Powers 1928–2007 Mode and Raga (1958); "Mode" in Grove 1980 Comparisons of the Western and Indian classical traditions, particularly on modes and ragas. Also research on the use of musical theory to convey drama in Italian opera [168]
Carl Schachter born 1932 Harmony and Voice Leading (1979; with Edward Aldwell) Schenkerian analysis [169]
David Lewin 1933–2003 Generalized Musical Intervals and Transformations (1987) Transformational theory [170]
Benjamin Boretz born 1934 Language as a Music: Six Marginal Pretexts for Composition (1981) [171]
Robert Porter Morgan born 1934 Anthology of Twentieth-Century Music (1992) Musical analysis of 20th-century classical music [172]
Edward Aldwell 1938–2006 Harmony and Voice Leading (1979; with Carl Schachter) [173]
Edward Laufer 1938–2014 Schenkerian analysis [174]
Stefan Kostka born 1939 Tonal Harmony (1984) [175]
Fred Lerdahl born 1943 A Generative Theory Of Tonal Music (1983; with Ray Jackendoff) Generative theory of tonal music [176][177]
Maury Yeston born 1945 Readings in Schenker Analysis (1975); The Stratification of Musical Rhythm (1976) Rhythmic stratification and Schenkerian analysis [178]
James Hepokoski born 1946 Elements of Sonata Theory (2006; with Warren Darcy) Sonata theory [179]
William Caplin born 1948 Classical Form (1998) Analysis of classical period music [180]
Willie Anku 1949–2010 "Circles and time: a theory of structural organisation of rhythm in African music" (2000) Studies on African rhythm, particularly using set theory [181]
Laurence Dreyfus born 1952 Analysis of the music of Bach
Richard Cohn born 1955 Audacious Euphony (2012) Rhythm and atonal pitch-class theories [182]
Victor Kofi Agawu born 1956 Playing with signs (1991); African Rhythm, A Northern Ewe Perspective (1995) Musical semiotics and musical analysis [183]
Timothy L. Jackson born 1958 Schenkerian analysis [184]
Miller Puckette born 1959 The Theory and Technique of Electronic Music (2007) Max (software), Pure Data
Philip Ewell born 1966 Russian and twentieth century music, as well as rap and hip hop [185]
Ellie Hisama Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007) Gender, race, and sexuality in music theory. Popular music [186]
David Carson Berry born 1968 A Topical Guide to Schenkerian Literature Schenkerian analysis [187]
Suzannah Clark born 1969 Music theory and natural order from the Renaissance to the early twentieth century (2001) Franz Schubert, history of music theory, medieval music [188]
Dmitri Tymoczko born 1969 A Geometry of Music (2010) Proposed framework for considering tonality [189]

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