Catalogue of Printed Music Published Between 1487 and 1800 Now in the British Museum: L-Z and First supplement PDF Download
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Author: British Museum. Department of Printed Books
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 764
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Book Description
Author: British Museum. Department of Printed Books
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 764
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Book Description
Author: Domenico M. Ferrabosco
Publisher: Routledge
ISBN: 1135780854
Category : Music
Languages : en
Pages : 250
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Book Description
Il primo libro de madrigali a quatro voci (Venice, 1542)
Author: Andrew Pettegree
Publisher: BRILL
ISBN: 900421660X
Category : Reference
Languages : en
Pages : 1590
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Book Description
Netherlandish Books offers a unique overview of what was printed during the fifteenth and sixteenth centuries in the Low Countries. This bibliography lists descriptions of over 32,000 editions together with an introduction and indexes.
Author:
Publisher:
ISBN:
Category : Biblioteques privades
Languages : en
Pages : 202
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Book Description
Author: Iain Fenlon
Publisher: Oxford University Press
ISBN: 9780198164449
Category : History
Languages : en
Pages : 300
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Book Description
Explores the role of music in the cultural, religious, and political upheavals of late Renaissance Italy, revealing how musical activity of all kinds was instrumentalized by those in power. Italian culture did not lose its vigour after 1530, but underwent a transformation.
Author: Iain Fenlon
Publisher: Cambridge University Press
ISBN: 9780521088336
Category : Art
Languages : en
Pages : 252
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Book Description
Viewed traditionally, the history of sixteenth-century Mantuan music is almost a catalogue of some of the most distinguished composers of the age, from Tromboncino and Cara, via Jacquet of Mantua, to Wert, Palestrina, Marenzio, Pallavicino, Gastoldi, Rossi and Monteverdi. The remarkable achievements of composers under Gonzaga patronage, practically synonymous with Mantuan patronage during this period, are treated here in their social context. The arguments proceed not just from the music itself, but from detailed examination of archival sources, from which Dr Fenlon reconstructs employment patterns and describes the social structure and institutional life of the city. The aim of the book is to show how the patterns of patronage, and music and musicians, reflect and illuminate the temperaments and prime preoccupations of successive rulers. The book contains a substantial appendix of unpublished archival documents, a small proportion only of the scholarly and comparative sources on which the study is based.
Author: David Greer
Publisher: Routledge
ISBN: 1317101073
Category : Music
Languages : en
Pages : 259
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Book Description
Who were the first owners of the music published in England in the sixteenth and early seventeenth centuries? Who went to ‘the dwelling house of ... T. East, by Paules wharfe’ and bought a copy of Byrd’s Psalmes, sonets, & songs when it appeared in 1588? Who purchased a copy of Dowland’s First booke of songes in 1597? What other books formed part of their music library? In this survey of surviving books of music published before 1640, David Greer has gleaned information about the books’ early and subsequent owners by studying the traces they left in the books themselves: handwritten inscriptions, including names and other marks of ownership - even the scribbles and drawings a child of the family might put into a book left lying about. The result is a treasure trove of information about musical culture in early modern England. From inscriptions and marks of ownership Greer has been able to re-assemble early sets of partbooks, as well as collections of books once bound together. The search has also turned up new music. At a time when paper was expensive, new pieces were copied into blank spaces in printed books. In these jottings we find a ‘hidden repertory’ of music, some of it otherwise undiscovered music by known composers. In other cases, we see owners altering the words of songs, to suit new and personal purposes: a love-song in praise of Daphne becomes a heartfelt song to ‘my Jesus’; and ‘Faire Leonilla’ becomes Ophelia (perhaps the first mention of this character in Hamlet outside the play itself). On a more practical level, the users of the music sometimes made corrections to printing errors, and there are indications that some of these were last-minute corrections made in the printing-house (a useful guide for the modern editor). The temptation to ‘scribble in books’ was as irresistible to some Elizabethans as it is to some of us today. In doing so they left us clues to their identity, how they kept their music, how they used it, and the multifarious ways in which it played a part in their lives.
Author: Simon Groot
Publisher: Uitgeverij Verloren
ISBN: 9464550066
Category : History
Languages : en
Pages : 339
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Book Description
Joannes Tollius (c. 1550-c. 1620) was born in Amersfoort and began his career as music director of the Amersfoort Chapel of Our Lady. He flourished in Italy as maestro di capella of the cathedrals of Rieti (1583-84) and Assisi (1584-86), and as cantor tenorista in Rome (1586-88) and Padua (1588-1601). He ended his career as an exceptionally well-paid singer in the court chapel of Christian IV in Copenhagen (1601-03). In 1590, a collection of three-part motets appeared under the surprising title Motecta de dignitate et moribus sacerdotum (motets about the dignity and morals of priests), presumably intended as a denunciation of the priests who had had him imprisoned in Assisi on charge of heresy, a charge of which Tollius was later acquitted. In 1591, two collections of five-part motets appeared in quick succession. In these motets, Tollius uses techniques of word painting that go significantly further than those used by his contemporaries in sacred music. In 1597, an extended and revised reprint appeared of the a collection of six-part madrigals. In his madrigals, Tollius shows himself to be a skilled composer who is in keeping with the madrigal output of his Italian contemporaries. In 1598, two new madrigals by Tollius appeared in collections of works by Paduan masters, including such great names as Lodovico Viadana and Costanzo Porta. Tollius is unconventional in his compositions. He combines works with an archaic character, with works that fit in prevailing compositional trends, but he also experiments with means that go far beyond what his contemporaries allowed themselves. His oeuvre may be small, but its diversity and quality makes it notable. During his life, Tollius regularly came into conflict with his employers. He was often fined and sometimes even imprisoned. Contemporary accounts of Tollius are contradictory when it comes to his personality, but they are unanimous in recognising that he was a skilled musician.
Author: Andrew Pettegree
Publisher: BRILL
ISBN: 900421500X
Category : Reference
Languages : en
Pages : 1964
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Book Description
French Books III & IV complete a comprehensive bibliographical survey of all books published in France in the first age of print. It lists over 40,000 editions printed in France in languages other than French during the fifteenth and sixteenth centuries together with bibliographical references, an introduction and indexes. It draws on the analysis of over 3,000 collections situated in libraries throughout the world. French Books will be an invaluable research tool for all students and scholars interested in the history, culture and literature of France, as well as historians of the early modern book world. For vols. I & II please go to French Vernacular Books.
Author: Soko Tomita
Publisher: Routledge
ISBN: 1351962922
Category : Literary Criticism
Languages : en
Pages : 603
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Book Description
A sequel to Tomita’s A Bibliographical Catalogue of Italian Books Printed in England 1558-1603, this volume provides the data for the succeeding 40 years (during the reign of King James I and Charles I) and contributes to the study of Anglo-Italian relations in literature through entries on 187 Italian books (335 editions) printed in England. The Catalogue starts with the books published immediately after the death of Queen Elizabeth I on 24 March 1603, and ends in 1642 with the closing of English theatres. It also contains 45 Elizabethan books (75 editions), which did not feature in the previous volume. Formatted along the lines of Mary Augusta Scott's Elizabethan Translations from the Italian (1916), and adopting Philip Gaskell's scientific method of bibliographical description, this volume provides reliable and comprehensive information about books and their publication, viewed in a general perspective of Anglo-Italian transactions in Jacobean and part of Caroline England.
