The relationship between music and mathematics has attracted the attention of music theorists throughout history. However, if we take as a reference the available bibliography on treatises in Spanish, one might think that after Salinas, hardly any treatises on music and mathematics were published that were worthy of mention. However, it is true that in the past some authors in Spain not only collected knowledge from previous eras but were very up to date with what was published in Europe and tried to get this knowledge to the Hispanic public by writing their works in Spanish. This is the case of Tomás Vicente Tosca, who reflected his musical thought in his two main works: the Compendio Mathematico (1707-1715), and the Compendium Philosophicum (1721). The first is an encyclopaedic work in which Tosca includes multiple mathematical disciplines, including music. Given the encyclopaedic nature of the work, its author tried to bring together all the questions, both theoretical and practical, which he considered as the most important and novel of his time. On the other hand, in his Compendium Philoshopicum, Tosca goes into the study of «natural philosophy», or «physics» to try to explain some natural phenomena such as light or sound.

Although Tosca put in question the distribution of the areas in the trivium and quadrivium, for him, music is still part of mathematics. In his speech he includes issues such as the logarithmic division of the octave or the relationship between vibration frequency and string length. In fact, we could say that their sound studio is part of what we know today as acoustics.

There are hardly any studies on the texts of Tosca, highlighting Leon Tello's book on music theory and a very brief monographic study written by Antonio Ezquerro[1]. For this reason, the main objective of the research is to analyse in depth the musical content of Tosca's texts to see how her thought fits into the musical discourse of her time. In order to do so, we will try to identify what were their sources and to what extent the contents of their treatises were innovative, at least for Spanish-speaking readers. The way to do this will be through documentary analysis (content of sources, discourse analysis and comparative analysis).

This research aims to show that Tosca's main contribution to Spanish musical theory was to bring together in his treatises the ideas, in many cases new and probably not yet in circulation on the Iberian Peninsula, of other authors both Spanish and European, and their texts being widely disseminated.