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He made or renewed contact with instrument-makers and performers in London, with the mathematician John Wallis, with Isaac Newton and with the Royal Society of London through its Secretary Hans Sloane. A series of manuscript treatises and a published Proposal to Perform Musick, in Perfect and Mathematical Proportions (1688) paved the way for an appearance by Salmon at the Royal Society in 1705, when he provided a demonstration performance by professional musicians using instruments specially modified to his designs. This created an explicit overlap between the spaces of musical performance and of experimental performance, as well as raising questions about the meaning and the source of musical knowledge similar to those raised in his work on notation. 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This treatise plays an important but poorly understood role in the continued development of rhythmopoeia; Vossius continues the arguments of figures such as Vincenzo Galilei and Marin Mersenne - desiring to link linguistic rhythm, music, and the passions - by proposing a practical, if undemonstrated, method for doing so based on ancient poetic feet. This resuscitation of poetic feet in the service of affect is made explicit by Vossius, but is undoubtedly more familiar to musicologists from Wolfgang Caspar Printz's 1696 Phrynis Mitilenaeus or Johann Mattheson's 1739 Der vollkommene Capellmeister. Vossius, or more correctly, De poematum cantu, was often cited during the century after its publication, and no modern treatment of rhythmopoeia seems complete without a citation or short excerpt from this work. There is little secondary literature that focuses on this treatise, but what does exist links this work directly to John Dryden's composition of his 1687 and 1697 St. Cecilia odes, and their musical settings by Giovanni Battista Draghi and Jeremiah Clarke, respectively. In Dean Mace and H. Neville Davies' debate over the extent of Vossius's influence on these works can be found a rich picture of the contentious issues surrounding text-setting and musical affect that so occupied a great many writers in late-seventeenth-century England. 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There is little secondary literature that focuses on this treatise, but what does exist links this work directly to John Dryden's composition of his 1687 and 1697 St. Cecilia odes, and their musical settings by Giovanni Battista Draghi and Jeremiah Clarke, respectively. In Dean Mace and H. Neville Davies' debate over the extent of Vossius's influence on these works can be found a rich picture of the contentious issues surrounding text-setting and musical affect that so occupied a great many writers in late-seventeenth-century England. 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A theorist as well as a composer and editor, Ravenscroft wrote two treatises on music theory: the well-known A Briefe Discourse (1614), and 'A Treatise of Practicall Musicke' (c.1607), which remains in manuscript. This is the first book to bring together both theoretical works by this important Jacobean musician and to provide critical studies and transcriptions of these treatises. A Briefe Discourse furthermore introduces an anthology of music by Ravenscroft, John Bennet, and Ravenscroft's mentor, Edward Pearce, illustrating some of the precepts in the treatise. 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A series of manuscript treatises and a published Proposal to Perform Musick, in Perfect and Mathematical Proportions (1688) paved the way for an appearance by Salmon at the Royal Society in 1705, when he provided a demonstration performance by professional musicians using instruments specially modified to his designs. This created an explicit overlap between the spaces of musical performance and of experimental performance, as well as raising questions about the meaning and the source of musical knowledge similar to those raised in his work on notation. 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