Luis de Milán (also known as Lluís del Milà or Luys Milán) (c. 1500 – c. 1561) was a Spanish Renaissance composer, vihuelist, and writer on music. He was the first composer in history to publish music for the vihuela de mano, an instrument employed primarily in the Iberian peninsula and some of the Italian states during the 15th and 16th centuries, and he was also one of the first musicians to specify verbal tempo indications in his music.
Life
thumb|200px|right|Frontispiece to Libro de música de vihuela de mano intitulado El maestro
Luis de Milán probably lived all his life in Valencia, though details are sketchy at best. He seems to have been employed by the Valencian court of Germaine de Foix until around 1538. In 1535 he published his first book, a parlor game with music called El juego de mandar. The next year he issued what would be his most important book, El maestro. This was the first printed collection of vihuela music, and both books were composed during his ducal court residence. It is likely that Milán was a Valencian nobleman who entered minor religious orders before later becoming the rector of a parish church. He would have eventually been married sometime before 1555, and died in 1559. Milán's final work titled El cortesano provides insight into court life and his musical ideas. It is clear that Milán, as well as notable poets such as Juan Fernández and Gil Polo, thought highly of his work and talent.
El Maestro (1536)
Milán’s Libro de música de vihuela de mano intitulado El Maestro was printed in December 1536 and dedicated to King John III of Portugal. The dedication, and the inclusion of six villancicos in Portuguese, suggests that Milán traveled to that country and spent time there. El maestro is the earliest known Spanish publication with a collection of solo instrumental and accompanied music. The performer was typically both the singer and vihuelist. This collection marks the first use of printed Spanish tablature, as well as the introduction of written tempo instructions. These tempo's were typically maintained throughout the entire piece unless the work was written in the 'gallant' style, in which the tempo then varied between fast and slow. Similarly to the Neapolitan style of notation, El maestro uses the top line to represent the highest-pitched string. Milán composed directly on the vihuela before writing down his music.