Early Music Printing in German-Speaking Lands: 1st Edition (Hardback) book cover

Early Music Printing in German-Speaking Lands

1st Edition

Edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, Grantley McDonald

Routledge

272 pages | 17 Color Illus. | 87 B/W Illus.

Book Content Available Open Access*
Read Chapter 8 - Open Access Read Chapter 9 - Open Access

*Open Access content has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) license

Purchasing Options:$ = USD
Hardback: 9781138241053
pub: 2018-03-15
SAVE ~$28.00
$140.00
$112.00
x
eBook (VitalSource) : 9781315281452
pub: 2018-03-14
from $27.48


FREE Standard Shipping!

Description

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.

Table of Contents

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

About the Editors

Andrea Lindmayr-Brandl holds a chair of music history at the University of Salzburg, Austria. She studied music, musicology, philosophy and mathematics at her home university, at the Mozarteum Salzburg and at the Schola Cantorum Basiliensis. Her doctoral dissertation examined the sources of the motets of Johannes Ockeghem, and her habilitation studied Schubert’s musical fragments. She has held the Austrian Chair Professorship at Stanford University, has been guest professor at the University of Vienna and is an active member of several academic institutions and organisations. She directs two research projects: one on the critical edition of works by Gaspar van Weerbeke, the other the project Early music printing in German-speaking lands.

Elisabeth Giselbrecht is an early career fellow at King’s College, London, UK. She completed her undergraduate and Master’s degrees in Vienna (including a term at New York University), followed by a PhD on the dissemination of Italian sacred music in German-speaking lands in early modern Europe at the University of Cambridge (2012). She then took up a post-doctoral position at the University of Salzburg, working on the project and database Music printing in German-speaking lands. Her current research project, entitled Owners and Users of Early Music Books,is fundedby aLeverhulme Early Career Fellowship.

Grantley McDonald is a postdoctoral researcher and lecturer in the department of musicology, University of Vienna, Austria, where he directs the FWF research project The court chapel of Maximilian I: between art and politics. He holds doctoral degrees in musicology (Melbourne, 2002) and history (Leiden, 2011). Grantley has held postdoctoral fellowships at Wolfenbüttel, Tours, Leuven, Dublin, and Universität Salzburg, where he worked on the project Early music printing in German-speaking lands. His research has been distinguished with prizes from the Australian Academy of the Humanities (Canberra) and the Praemium Erasmianum Foundation (Amsterdam). He is author of Biblical Criticism in Early Modern Europe: Erasmus, the Johannine Comma and Trinitarian Debate (Cambridge, 2016).

About the Series

Music and Material Culture

Music and Material Culture

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.

Learn more…

Subject Categories

BISAC Subject Codes/Headings:
MUS000000
MUSIC / General