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Sources of Identity
Makers, Owners and Users of Music Sources Before 1600

T. Shephard, L. Colton (eds.)
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340 p., 52 b/w ill., 27 b/w tables, 190 x 290 mm, 2017
ISBN: 978-2-503-56778-5
Languages: English
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Leaving aside the traditional view of early music sources as a means of access to medieval and Renaissance repertoires, this anthology focuses instead on the people who commissioned, made, owned and used music books, and on their reasons for so doing.

The papers included in this volume were presented, in much shorter form, at a conference entitled ‘Sources of Identity: Makers, Owners and Users of Music Sources Before 1600’ held at the University of Sheffield in 2013. The stated aim of the event was to leave aside the traditionally dominant view of early music sources as a means of access to medieval and Renaissance repertoires, focussing instead on the people who commissioned, made, owned and used music books, and on their reasons for so doing. In the terms proposed by a recent study of art patronage in the period, what was the ‘payoff’ enjoyed by individuals and groups who created and deployed such objects?

 

Table of Contents

Introduction: Sources of Identity - Tim Shephard and Lisa Colton

Sources and Identity: Composers and Singers in Darnton’s Communications Circuit - Julie E. Cumming

Remnants of identity: Two Beneventan Masses for All Saints in Benevento, Biblioteca Capitolare MS 40 - Sophie Burton

The Precentor’s Book from Sens Cathedral (Sens, Médiathèque Jean-Christophe Rufin, MS 6) (translated by Frédéric Dufeu) - Océane Boudeau

Record-Keepers, Preachers and Song-Makers: Revealing the Compilers, Owners and Users of Twelfth- and Thirteenth-Century Insular Song Manuscripts - Helen Deeming 

The Makers and Owners of Early Fifteenth-Century Song Books in Italy: The Benedictine Contribution to the Courtly Musical Culture of the Late Middle Ages - Jason Stoessel

The Creation of a Fifteenth-Century Music Book: The Scribe as Producer, Owner and User - Ralph Corrigan

The Polyphonic Vesperal Manuscript Type, Du Faÿ’s Hymns, and Institutional Identity in the Papal Chapel, 1400–1600 - Jeffrey J. Dean

Power, Prestige, and Polyphony: The Use of Parchment in Music Manuscripts c. 1450–1600 - Honey Meconi

Liberalitas in Musical Exchanges in Florence and Ferrara - Tim Shephard

A Tale of Three Manuscripts: On the Origins and Uses of I-Bc Q19, Q20 and Q21 - Mitchell P. Brauner

To Have and to Hold: Music Books as Collectables - Elisabeth Giselbrecht

Renaissance Musicians Networks and Print Culture in Venice: The Case of Willaert, Gabrieli, Molino, and their Friends - Philip Weller

Simone Verovio: Intaglio Techniques Reveal Different Makers and Audiences - Augusta Campagne

Authors, Books, and Readers: Tomás Luis de Victoria's Missae, magnificat, motecta, psalmi et alia (1600) -Esperanza Rodríguez-García

The Enhancement of Identity Through Publication: Composers and the Music Printing Business in England c. 1600 - Tessa Murray

Interest Classification:
Fine Arts & Performing Arts
Musicology

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