MUSICAL DIVERSIONS PRESENTED IN HONOR OF THE MOST SERENE ARCHDUKE.

The Latin 'Lusus' suggests intellectual play, games, or witty musical exercises.
A Four-Voice Fugue over six musical notes in the lower octave with a fifth sub-Diapason cum Diapente, in a fifth Diapente, and in a fourth Diatessaron; in which (if desired) a fifth part harmonizes in tenths with the bass. It can also be transposed and sung in various ways and voices, specifically in the two following manners.

A musical staff displays a melody with five "signs of congruence" (indicating where subsequent voices enter). The lyrics underneath celebrate the patron: "Long live, long live, long live LEOPOLD."

A second musical staff provides an alternative arrangement with four entry marks, again set to the text: "Long live, long live, long live LEOPOLD."

A musical word-puzzle in the form of an over-triple canon, in contrary motion.

Kircher uses the term 'hypertriti' to describe a specific technical ratio or complex contrapuntal relationship; 'contrary motion' means that as one voice goes up in pitch, the other goes down.

A musical staff where the pitches of the notes themselves act as solmization syllables (Ut, Re, Mi, Fa, Sol, La) to complete the words of the sentence. For example, a note on the pitch "Fa" serves as the first syllable of the word "Fama."

Fame cannot lie hidden; renowned virtue shines like the sun.
original: "FAma LaTeRE nequit MIcat VT SOL inclyta virtus." The capitalized syllables correspond to the musical notes Fa, La, Te, Re, Mi, Ut, and Sol.

On the Musurgia, or the Great Art of Consonance and Dissonance, by the most learned man Father Athanasius Kircher of the Society of Jesus.

By Pietro Francesco Valentini, a Roman Gentleman.
Valentini (c. 1570–1654) was a famous Roman composer known for his incredibly complex "canons," some of which could be sung in thousands of different ways.
A Canon for five voices, and with a free part for six voices.

Two musical staves show the "free part"—a voice that provides accompaniment without being bound by the strict imitative rules of the canon. The Latin text translates as: "Behold the precepts of consonance and dissonance; read this book, and you will be a learned music-maker."

Two musical staves illustrate the five-part canon. Letters above the notes (B, C, G, A, C) indicate the pitches where each new voice should begin its entry. The text repeats the encouragement: "Behold the precepts of consonance and dissonance; read this book, and you will be a learned music-maker."