Zarlino, Gioseffo

first edition, first issue, [12] & 347 pages, folio, (c.29.5 x 20cm), extensive type-set music (including pieces illustrating imitative counterpoint), elaborate device on title (privilege on verso), errata listed only up to page 322 (on *6), woodcut diagrams (many full page), including a keyboard instrument, and historiated 5- & 8-line initials, italic letter, later calf binding (remboîtage), a few stains, a few later annotations, a few worm-holes at the end of the volume 

PMM, no.81; RISM Écrits, p.907; Censimento 16 CNCE 25277; Gregory & Bartlett, i, 296; Hirsch, i 623; not in Adams

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is the first edition of arguably the most important and influentual book in the history of music theory. 

Gioseffo Zarlino (1517-1590) laid down the theoretical basis for almost all aspects of modern music, for which he was cited as the ultimate authority for the next two hundred years.  He codified the contrapuntal techniques of the great composers of his time and was the first to explain the modern tonal system of major and minor modes.  In the terza parte Zarlino treats counterpoint in a conservative manner, particularly regarding the treatment of dissonances, provoking widespread attacks by Vincenzo Galilei (see lot 522) and others. Artusi cited Zarlino in his attacks on Monteverdi and brought forth the latter's distinction between the prima prattica and his own seconda pratica.  The Istitutioni "opened the way for the new tonality which has governed music from the seventeenth century to the present day" (PMM).

This is the first issue of the Istitutioni: a later issue exists, including additions to the errata list at the end of the preliminaires, and with the privilege placed on verso.