Humanists were generally poor historians of the ancient world. Their project of applying ancient learning and ideals to contemporary situations in the sixteenth and seventeenth centuries often impeded a disinterested search for historical truth. Giovanni Battista Doni, like Franchino Gaffurio, Henricus Glareanus, Girolamo Mei, and Francisco de Salinas before him, gained his reputation as a promoter of ancient Greek tonal systems as a basis for modern musical composition. But, like these predecessors, Doni was also imbued with a passion for research and scholarship. In a book he drafted in the early 163os and left unfinished, the de' generi e de' modi della musica,' he indulged in pure scholarship before becoming embroiled in debates about reforming modern music. His published Compendio del de' generi e de' modi della musica (Rome, 1635) was not a true compendium of the unpublished treatise but a bowdlerization with an obvious reformist agenda that left the scholarly substance behind. Consequently we must go to the unpublished Trattato to understand Doni's view of the ancient Greek tonal
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