272 pages | 17 Color Illus. | 87 B/W Illus.
The first century of music printing in Germany had its own internal dynamics, affected by political and social events such as the Reformation. Yet it also had an international dimension: German printers set up shops all around Europe, taking materials and techniques with them, or exporting necessary materials such as type. For the first time, this collection brings together the different strands that define the German music printing landscape from the late fifteenth to the late sixteenth century. From the earliest developments in music printing and publishing, to printing techniques and solutions, the commerce of music printing, and intellectual history, the chapters outline broad trends in the production of different genres of printed books and examine the work of individual printers. The book draws upon the rich information gathered for the online database Catalogue of early German printed music / Verzeichnis deutscher Musikfrühdrucke (vdm), the first systematic descriptive catalogue of music printed in the German-speaking lands between c. 1470 and 1540, allowing precise conclusions about the material production of these printed musical sources. The result is a highly original and varied picture of the beginnings of music printing in a geographical region that, until now, has been somewhat neglected.
Introduction Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald Part I. Music printing and publishing in the fifteenth century 1. Early music printing and ecclesiastic patronage Mary Kay Duggan 2. German-speaking printers and the development of music printing in Spain (1485–1505) Margarita Restrepo Part II. Printing techniques: problems and solutions 3. ‘Made in Germany’: the dissemination of mensural German music types outside the German-speaking area (and vice versa), up to 1650 Laurent Guillo 4. Printing music: technical challenges and synthesis, 1450–1530 Elisabeth Giselbrecht and Elizabeth Savage 5. ‘Synopsis musicae’: charts and tables in sixteenth-century music Textbooks Inga Mai Groote Part III. Music printing and commerce 6. Melchior Lotter: a German ‘music printer’ Elisabeth Giselbrecht 7. The music books of Christian Egenolff: bad impressions = good return on investment John Kmetz 8. The music editions of Christian Egenolff: a new catalogue and its implications Royston Gustavson Part IV. Music printing and intellectual history 9. The cult of Luther in music Grantley McDonald 10. Theobald Billican and Michael’s ode settings in print: notes on an exceptional transmission Sonja Tröster 11. Polyphonic music in early German print: changing perspectives in music historiography Andrea Lindmayr-Brandl
Music and Material Culture provides a new platform for methodological innovations in research on the relationship between music and its objects. In a sense, musicology has always dealt with material culture; the study of manuscripts, print sources, instruments and other physical media associated with the production and reception of music is central to its understanding. Recent scholarship within the humanities has increasingly shifted its focus onto the objects themselves and there is now a particular need for musicology to be part of this broader ‘material turn’. A growing reliance on digital and online media as sources for the creation and consumption of music is changing the way we experience music by increasingly divorcing it from tangible matter. This is rejuvenating discussion of our relationship with music’s objects and the importance of such objects both as a means of understanding past cultures and negotiating current needs and social practices. Broadly interdisciplinary in nature, this series seeks to examine critically the materiality of music and its artefacts as an explicit part of culture rather than simply an accepted means of music-making. Proposals are welcomed on the material culture of music from any period and genre, particularly on topics within the fields of cultural theory, source studies, organology, ritual, anthropology, collecting, archiving, media archaeology, new media and aesthetics.