Pietro Cerone (circa 1560/1566, Bergamo — May 1625, Naples) was an Italian music theorist, musicologist, cantor, and ordained priest. He is most recognized for his significant work, El Melopeo y Maestro: Tractado de música theorica y pratica, published in 1613. This extensive treatise on music theory spans 22 folio volumes and exceeds 1,100 pages, showcasing a remarkable depth and breadth. Despite its ambition, the manuscript faced criticism from contemporary and later scholars for being overly meticulous, verbose, and difficult for the average reader. Cerone is known by several name variations, including Pedro Cerone, Petrus Ceronus, R. D. Pedro Cerone de Bergamo, D. Petrus Ceronus Bergomen, and Domenico Pietro Cerone.

Cerone was raised in Italy, where he received a musical education and honed his skills as a singer before being ordained as a Catholic priest. Although his exact birthdate remains uncertain, the year 1566 is inferred from an inscription on his portrait in the 1613 edition of El Melopeo, which states: D· Petrvs Ceronvs Bergomen • Anno Ætatis Aetatis Svæ XXXXVII ("D. Petrus Ceronus ⟨from⟩ Bergamo – In the 47th year of his age"). However, a delay in printing, noted on the book's "erratum" page and referenced in the conclusion of Cerone's earlier 1609 manuscript, suggests that he was likely forty-seven around 1608, indicating a birth year closer to 1560-1561. In 1593, Cerone embarked on a pilgrimage to Santiago de Compostela in Galicia, Spain, and the following year, he moved to Madrid. There, he faced hardships until he received support from a local nobleman and priest, Jacobo de Grattis (1517—1619), also known as "Caballero de Gracia." With Jacobo's patronage, Cerone began serving at the Royal Chapel under King Philip II of Spain (1527—1598) and later his successor, Philip III (1578—1621). Around 1603 or 1605, Cerone returned to Italy and settled in Naples, where he joined the court of the newly appointed viceroy, the Count of Lemos, Pedro Fernández de Castro y Andrade (1576—1622). His first treatise on liturgical "plainchant," Le regole più necessarie per l’introduzione del canto fermo, was published in 1609.

Cerone's long-anticipated magnum opus was released in 1613, primarily written in Spanish and largely completed during his time in Madrid. The full title of the manuscript is El Melopeo y Maestro • Tractado de música theorica y pratica: en que se pone por extenso, lo que uno para hazerse perfecto musico ha menester saber ("Melopeo & Maestro: Treatise on the Theory and Practice of Music, in which is set forth in detail what one needs to know to become a perfect musician"). The term 'Melopeo' presumably refers to melopœia, meaning "melody-making" in ancient Greek. The book meticulously covers various aspects of music, ranging from the moral and social conduct expected of musicians to a thorough critique of earlier scholars such as Zarlino, Vicentino, and Juan Bermudo. It also provides guidance on achieving expressive intensity in compositions for common late-Renaissance forms and lists popular instruments in Spain at the time. Interestingly, while Cerone lauded "Renaissance polyphony" and the works of the esteemed Giovanni Pierluigi da Palestrina (1525/26—1594) as the pinnacle of compositional achievement, he simultaneously criticized strict adherence to counterpoint "canon," advocating that composers abandon these rules as they develop their skills.

Upon its release, El Melopeo stirred notable attention, eliciting mixed reviews among scholars and composers of the time. Ironically, despite the work's complexity, the subtitle boldly asserted: Va tan exemplificado y claro, que qualquiera de mediana habilidad, con poco trabajo, alcançarà eſta profeſsion ("It's obvious and clear that anyone of average ability, with little effort, will achieve this profession"). While the treatise served as a valuable reference for advanced academic study and professional musicians, the suggestion that such a dense, intricate manuscript could function as an accessible guide for beginners was met with skepticism and ridicule. Additionally, written entirely in Spanish, Cerone's work exhibited a clear bias favoring the Italian music tradition, with frequent comparisons highlighting the supposed inferiority of Spanish composers to their Italian counterparts. By the early 19th century, Melopeo y Maestro faced renewed criticism, with some Spanish music theorists contending that Cerone's conservative perspectives hindered the spread of the Baroque style in the Iberian Peninsula compared to other European nations. In 1803, Jesuit philosopher, polymath, and musicologist Antonio Eximeno (1729—1809) famously likened Cerone's magnum opus to the chivalric romances of Don Quixote, as described by Cervantes, characterizing it as an "impossibly detailed and absurd compilation of nonsense."