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At the same time, I am puzzled as to why Mr. Lester considers it so crucial to distinguish between information contained in Part III and Part IV of Istitutioni harmoniche. Does he believe that the material in Part III, a practical guide for composing counterpoint, is of less importance than that in Part IV, a section devoted more to what he terms "formal theory"? In short, is he suggesting that we attribute greater significance to the musica theorica than to the musica practica within Zarlino'sdoi:10.2307/831011 fatcat:wze5n6nv6rbxzcmqdb3jqik7sm