Music Printing in Renaissance Venice


Book Description

Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, the house of Scotto played a pivotal role in the international book trade, publishing in a variety of fields including philosophy, medicine, religion, and music. This book examines the mercantile activities of the firm through both a historical study, which illuminates the wide world of the Venetian music printing industry, and a catalog, which details the music editions brought out by the firm during its most productive period. A valuable reference work, this book not only enhances our understanding of the socioeconomic and cultural history of Renaissance Venice, it also helps to preserve our knowledge of a vast musical repertory.




Print Culture and Music in Sixteenth-century Venice


Book Description

This volume examines the commerce of music and its connection to the printing and publishing industry in mid-sixteenth century Venice. It presents a broad portrayal of the Venetial music booktrade and explores business strategies.




Thomas East and Music Publishing in Renaissance England


Book Description

In the London of Shakespeare and William Byrd, Thomas East was the premier, often exclusive, printer of music. As he tells the story of this influential figure in early English music publishing, Jeremy Smith also offers a vivid overall portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. It provides a truly comprehensive study of music publishing and a new way of understanding the place of musical culture in Elizabethan times. In addition, Smith has compiled the first complete chronology of East's music prints, based on both bibliographical and paper-based evidence.




Sound and Space in Renaissance Venice


Book Description

This title combines historical research into the architectural and liturgical traditions of 12 Venetian churches with the results of a parallel series of scientific surveys of the acoustic properties of the chosen buildings.




A Companion to Music in Sixteenth-Century Venice


Book Description

This book offers an overview of all facets of musical life in sixteenth-century Venice. It addresses the city’s institutions (churches, confraternities, and academies) against the background of public and private occasions of music making. Supported by a generous collection of archival, literary, and iconographical sources, it treats both ceremonial life in the Serenissima and private forms of patronage. The Companion also addresses the dense web of musical activity (from chapel masters and singers to instrumentalists and instrument makers to music printers and theorists) and the rich variety of styles and musical genres (the frottola, the madrigal, motets and masses, instrumental music, polychoral music, Venetian-language polyphony), broadening the geographical perspective beyond the Veneto to Istria and Dalmatia. Contributors are Rodolfo Baroncini, Sherri Bishop, Bonnie J. Blackburn, David Bryant, Ivano Cavallini, Paolo Da Col, Daniel Donnelly, Rebecca Edwards, Iain Fenlon, Jonathan Glixon, Don Harrán (†), Jeffrey Kurtzman, Giulio M. Ongaro, Francesco Passadore, Elena Quaranta, Katelijne Schiltz, Eleanor Selfridge-Field, and Giovanni Zanovello.




Printing Music in Renaissance Rome


Book Description

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.




A Companion to the History of the Book


Book Description

A COMPANION TO THE HISTORY OF THE BOOK A COMPANION TO THE HISTORY OF THE BOOK Edited by Simon Eliot and Jonathan Rose “As a stimulating overview of the multidimensional present state of the field, the Companion has no peer.” Choice “If you want to understand how cultures come into being, endure, and change, then you need to come to terms with the rich and often surprising history Of the book ... Eliot and Rose have done a fine job. Their volume can be heartily recommended. “ Adrian Johns, Technology and Culture From the early Sumerian clay tablet through to the emergence of the electronic text, this Companion provides a continuous and coherent account of the history of the book. A team of expert contributors draws on the latest research in order to offer a cogent, transcontinental narrative. Many of them use illustrative examples and case studies of well-known texts, conveying the excitement surrounding this rapidly developing field. The Companion is organized around four distinct approaches to the history of the book. First, it introduces the variety of methods used by book historians and allied specialists, from the long-established discipline of bibliography to newer IT-based approaches. Next, it provides a broad chronological survey of the forms and content of texts. The third section situates the book in the context of text culture as a whole, while the final section addresses broader issues, such as literacy, copyright, and the future of the book. Contributors to this volume: Michael Albin, Martin Andrews, Rob Banham, Megan L Benton, Michelle P. Brown, Marie-Frangoise Cachin, Hortensia Calvo, Charles Chadwyck-Healey, M. T. Clanchy, Stephen Colclough, Patricia Crain, J. S. Edgren, Simon Eliot, John Feather, David Finkelstein, David Greetham, Robert A. Gross, Deana Heath, Lotte Hellinga, T. H. Howard-Hill, Peter Kornicki, Beth Luey, Paul Luna, Russell L. Martin Ill, Jean-Yves Mollier, Angus Phillips, Eleanor Robson, Cornelia Roemer, Jonathan Rose, Emile G. L Schrijver, David J. Shaw, Graham Shaw, Claire Squires, Rietje van Vliet, James Wald, Rowan Watson, Alexis Weedon, Adriaan van der Weel, Wayne A. Wiegand, Eva Hemmungs Wirtén.




Copyright in the Renaissance


Book Description

This richly documented study of copyright in sixteenth-century Venice and Rome provides valuable new information about the "privilegio" and the printers, engravers, painters, mapmakers, and others who used it to protect their commercial interests in various types of printed images.




Music, Patronage and Printing in Late Renaissance Florence


Book Description

This collection of reprinted essays starts from the author's doctoral research on Jacopo Peri and the rise of opera and solo song in late sixteenth- and early seventeenth-century Florence. It extends to broader issues concerning music and patronage in the city as they affected individual composers, patrons and institutions, and thence to the commerce of music printing and the book trade. It concludes with an attempt to suggest a broader view of these various issues as they impact upon musical life in the 'provinces' in Tuscany. There is a great deal of new documentary and other information here, but the aim is also to expand methodological horizons so as to prompt new ways of thinking about music in its contexts.




Print Culture in Renaissance Italy


Book Description

The emergence of print in late fifteenth-century Italy gave a crucial new importance to the editors of texts, who determined the form in which texts from the Middle Ages would be read, and who could strongly influence the interpretation and status of texts by adding introductory material or commentary. Brian Richardson here examines the Renaissance circulation and reception of works by earlier writers including Dante, Petrarch, Boccaccio and Ariosto, as well as popular contemporary works of entertainment. In so doing he sheds light on the impact of the new printing and editing methods on Renaissance culture, including the standardisation of vernacular Italian and its spread to new readers and writers, the establishment of new standards in textual criticism, and the increasing rivalry between the two cities on which this study is chiefly focused, Venice and Florence.