"Forgacs skillfully deciphers numerous puzzles unsolved by previous scholars. . . . A solid addition to the available scholarship on Renaissance music theory. Forgacs's careful analysis and expert interpretation of Dressler's text deserve enthusiastic praise."--Renaissance Quarterly “Dressler holds our attention because he embodies the later 16th century’s newly found interest in theorizing what makes good and bad composition, as well as correct and incorrect. . . . Essential reading for anyone interested in 16th-century theory.”--Early Music