Music Authorship And The Book In The First Century Of Print
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Music Authorship and the Book in the First Century of Print
Author | : Kate van Orden |
Publsiher | : Univ of California Press |
Total Pages | : 256 |
Release | : 2013-10-19 |
Genre | : Music |
ISBN | : 9780520276505 |
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What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western musicÕs adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.
Musical Authorship from Sch tz to Bach
Author | : Stephen Rose |
Publsiher | : Cambridge University Press |
Total Pages | : 261 |
Release | : 2019-05-30 |
Genre | : Music |
ISBN | : 9781108421072 |
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Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used.
Early Printed Music and Material Culture in Central and Western Europe
Author | : Andrea Lindmayr-Brandl,Grantley McDonald |
Publsiher | : Routledge |
Total Pages | : 423 |
Release | : 2021-05-04 |
Genre | : Music |
ISBN | : 9781000387087 |
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This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.
Printing Music in Renaissance Rome
Author | : Jane A. Bernstein |
Publsiher | : Oxford University Press |
Total Pages | : 297 |
Release | : 2024-02-16 |
Genre | : Music |
ISBN | : 9780197669631 |
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In sixteenth-century Italy, Rome ranked second only to Venice as an important center for music book production. Throughout the century, printers in the Eternal City experimented more readily and more consistently with the materiality of the book than their Venetian counterparts, who, by standardizing their printing methods, came to dominate the international marketplace. The Romans' ingenuity and willingness to meet individual clients' needs resulted in music editions in a broader array of shapes and sizes, employing a wider range of printing techniques. They became "boutique" printers, eschewing the run-of-the-mill in favor of tailoring production to varied market demands. Accommodating the diverse requirements of their clientele, they supplied customized volumes, which Venetian presses either could not--or would not--produce. In Printing Music in Renaissance Rome, author Jane A. Bernstein offers a panoramic view of the cultures of music and the book in Rome from the beginning of printing in 1476 through the early seventeenth century. Emphasizing the exceptionalism of Roman music publishing, she highlights the innovative printing technologies and book forms devised by Roman bookmen. She also analyzes the Church's predominant influence on the book industry and, in turn, the Roman press's impact on such important composers as Palestrina, Marenzio, Victoria, and Cavalieri. Drawing on innovative publications, Bernstein reveals a synergistic relationship between music repertories and the materiality of the book. In particular, she focuses on the post-Tridentine period, when musical idioms, both new and old, challenged printers to employ alternative printing methods and modes of book presentation in the creation of their music editions. Of interest to musicologists, art historians, and book historians alike, this book builds on Bernstein's previous work as she continues to chart the course of music and the book in Renaissance Italy.
Materialities
Author | : Kate Van Orden |
Publsiher | : New Cultural History of Music |
Total Pages | : 345 |
Release | : 2015 |
Genre | : Music |
ISBN | : 9780199360642 |
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'Materialities' is a cultural history of song on the page. Concentrating on print in the early modern period, it approaches its topic via the French chanson, arguably the most broadly disseminated genre of polyphony in the sixteenth century. 'Materialities' is as much about how to study print culturally as it is about 'the music itself'. In this way it aligns with histories of the book by scholars such as Roger Chartier, adding a musical perspective to studies of print culture.
Listening to Early Modern Catholicism
Author | : Daniele Filippi,Michael J. Noone |
Publsiher | : BRILL |
Total Pages | : 350 |
Release | : 2017-09-18 |
Genre | : History |
ISBN | : 9789004349230 |
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A vivid and multifaceted discussion of the sonic cultures developed within the diverse and dynamic matrix of Early Modern Catholicism (c.1450–1750), and of the role played by sound and music in defining Catholic experience.
Composing Community in Late Medieval Music
Author | : Jane D. Hatter |
Publsiher | : Cambridge University Press |
Total Pages | : 301 |
Release | : 2019-05-02 |
Genre | : Art |
ISBN | : 9781108474917 |
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An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.
Where Sight Meets Sound
Author | : Emily Zazulia |
Publsiher | : Oxford University Press |
Total Pages | : 345 |
Release | : 2021 |
Genre | : Musical notation |
ISBN | : 9780197551912 |
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"The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. Composers sometimes asked singers to read the music in unusual ways-backwards, upside-down, or at a reduced speed-to produce sounds whose relationship to the written notes is anything but obvious. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informed-sometimes erroneously-ideas about the premodern era. By viewing notation as a complex technology that did more than record sound, the book revolutionizes the way we think about music's literate traditions"--