This volume explores the means and motives for the distribution of music during the Renaissance. Music in the fifteenth century was available almost exclusively through manuscript copies, while the introduction of the printing of polyphonic music at the beginning of the sixteenth century profoundly changed the circulation of music.The essays discuss both the technical side of the production of sources as well as their roles in the society in which they were produced and cover a wide range of issues including: the activities of scribes and the making of manuscripts; the role of politics in the transmission of repertories; the influence of patrons and collectors; the impact of music printing; the nature and effects of both multiple-impression and single-impression techniques; and the financial side of music printing. Taken together, these essays reveal the critical changes wrought by the transition from manuscript to print during this period.
Table of Contents
Contents: Introduction; Part I Scribes and the Making of Manuscripts: Manuscript structure in the Dufay era, Charles Hamm; Simon Mellet, scribe of Cambrai cathedral, Liane Curtis; A contemporary perception of early 15th-century style: Bologna Q15 as a document of scribal editorial initiative, Margaret Bent; The origins of the Chigi Codex: the date, provenance, and original ownership of Rome, Biblioteca Vaticana, Chigiana, C.VIII.234, Herbert Kellman; Jean Michel, Maistre Jhan and a chorus of beasts: old light on some Ferrarese music manuscripts, Joshua Rifkin. Part II Sources, Politics and Transmission: European politics and the distribution of music in the early 15th century, Reinhard Strohm; A gift of madrigals and chansons: the Winchester Part Books and the courtship of Elizabeth I by Erik XIV of Sweden, Kristine K. Forney; Danish diplomacy and the dedication of Giardino novo II (1606) to King James I, Susan G. Lewis [Hammond]. Part III Sources and the Transmission of Repertory: The early Tudor court, the provinces and the Eton Choirbook, Magnus Williamson; Antwerp's role in the reception and dissemination of the madrigal in the North, Kristine K. Forney. Part IV Patrons and Collectors: The purpose of the gift: for display or for performance?, Stanley Boorman; Music in the library of Johannes Klein, Tom R. Ward; Music for the nuns of Verona: a story about MS DCCLXI of the Biblioteca Capitolare in Verona, Howard Mayer Brown; The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music, Donna G. Cardamone. Part V Music Printing: 1501-1528: The 500th anniversary of the first music printing: a history of patronage and taste in the early years, Stanley Boorman; The printing contract for the Libro primo de musica de la salamandra (Rome 1526), Bonnie J. Blackburn. Part VI Printing and Printing Houses after 1528: The Libro Primo of Constanzo Festa, James Haar; Twins, cousins, and heirs: relationships among editions of music printed in 16th-cen
Mary S. Lewis is Professor Emerita of Music, University of Pittsburgh, USA
’...like a well-curated museum exhibition, the whole is more than the sum of its parts. This volume provides valuable context: it places many of the field’s defining studies in dialogue with each other and allows readers to discover new or forgotten gems that have been tucked away in hard-to-access print copies of journals, Festschriften, and conference proceedings.’ Renaissance Quarterly