"In Thomas East and Music Publishing in Renaissance England, Jeremy Smith not only tells the story of this influential player in early English music publishing, but also offers a vivid portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. From this lively market, beset as it was by monopolies and lawsuits, a prototype of today's copyright system emerged."--Jacket.
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume three include: The Venetian privilege and music-printing in the sixteenth century; Francesco Landini and the Florentine cultural elite; and the Beneventan apostrophus in south Italian notation, AD 1000-1100.
In 1450 very few English men or women were personally familiar with a book; by 1850, the great majority of people daily encountered books, magazines, or newspapers. This book explores the history of this fundamental transformation, from the arrival of the printing press to the coming of steam. James Raven presents a lively and original account of the English book trade and the printers, booksellers, and entrepreneurs who promoted its development. Viewing print and book culture through the lens of commerce, Raven offers a new interpretation of the genesis of literature and literary commerce in England. He draws on extensive archival sources to reconstruct the successes and failures of those involved in the book trade—a cast of heroes and heroines, villains, and rogues. And, through groundbreaking investigations of neglected aspects of book-trade history, Raven thoroughly revises our understanding of the massive popularization of the book and the dramatic expansion of its markets over the centuries.
Here published for the first time, is the final book written by the late Hans Lenneberg, respected scholar and longtime head of the music library at the University of Chicago. In it, the author pursues the impact of printing technologies, methods of distribution, government regulations, and evolving business practices as they affect music and musical life. Written with insight and humor, this book surveys a changing industry, century by century, pulling together information from many specialized studies and pointing out previously unnoticed trends and remaining puzzles.
The first genuinely interdisciplinary study of creativity in early modern England In the seventeenth century, the concept of creativity was far removed from most of the fundamental ideas about the creative act - notions of human imagination, inspiration, originality and genius - that developed in the eighteenthand nineteenth centuries. Instead, in this period, students learned their crafts by copying and imitating past masters and did not consciously seek to break away from tradition. Most new material was made on the instructions of apatron and had to conform to external expectations; and basic tenets that we tend to take for granted-such as the primacy and individuality of the author-were apparently considered irrelevant in some contexts. The aim of this interdisciplinary collection of essays is to explore what it meant to create buildings and works of art, music and literature in seventeenth-century England and to investigate the processes by which such creations came into existence. Through a series of specific case studies, the book highlights a wide range of ideas, beliefs and approaches to creativity that existed in seventeenth-century England and places them in the context of the prevailing intellectual, social and cultural trends of the period. In so doing, it draws into focus the profound changes that were emerging in the understanding of human creativity in early modern society - transformations that would eventually lead to the development of a more recognisably modern conception of the notion of creativity. The contributors work in and across the fields of literary studies, history, musicology, history of art and history of architecture, and their work collectively explores many of the most fundamental questions about creativity posed by the early modern English 'creative arts'. REBECCA HERISSONE is Head of Music and Senior Lecturer in Musicology at the University of Manchester. ALAN HOWARD is Lecturer in Music at the University of East Anglia and Reviews Editor for Eighteenth-Century Music. Contributors: Linda Phyllis Austern, Stephanie Carter, John Cunningham, Marina Daiman, Kirsten Gibson, Raphael Hallett, Rebecca Herissone, Anne Hultzsch, Freyja Cox Jensen, Stephen Rose, Andrew R. Walkling, Amanda Eubanks Winkler, James A. Winn.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor‘s introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.
A Companion to Tudor Britain provides an authoritative overview of historical debates about this period, focusing on the whole British Isles. An authoritative overview of scholarly debates about Tudor Britain Focuses on the whole British Isles, exploring what was common and what was distinct to its four constituent elements Emphasises big cultural, social, intellectual, religious and economic themes Describes differing political and personal experiences of the time Discusses unusual subjects, such as the sense of the past amongst British constituent identities, the relationship of cultural forms to social and political issues, and the role of scientific inquiry Bibliographies point readers to further sources of information
John Day (1522-1584) is generally acknowledged to be the foremost English printer of the later sixteenth century. As well as printing some of the most important books of his day, most notably John Foxe's Acts and Monuments, he also pioneered enormous advances in English typography and book illustration. Yet despite his revered position in printing history, this book is the first full-length study to look into Day's life and legacy. Scholars have paid much attention of late to the Acts and Monuments but without placing it within the context of Day's overall business strategy. He was a printer whose success and range of titles, like his connections and influence, went far beyond John Foxe. Day may have gained his notoriety as the printer of Foxe's book but in order to understand both the man and his business, as Evenden shows, we must look at the wider range of Day's productions and the motivation behind them. The study begins by setting Day in the context of the sixteenth-century printing industry, examining his disputed origins and his establishment as a London printer. A number of Day's most celebrated Elizabethan productions are then discussed in detail, in order to understand not only his business strategies but also his religious and political affiliations throughout this period; similarly, Evenden examines his connections with the Stranger communities in London, and how they assisted Day's business and helped to enhance his reputation. Throughout the book it is argued that Day's printing empire and wealth were founded on a combination of two crucial factors: outstanding technical skills, and the ability to attract patrons and patents. Day carried out technically demanding printing assignments (most notably the heavily illustrated Acts and Monuments) for leading Elizabethan statesmen and churchmen and was rewarded with exclusive rights to print more lucrative works such as the ABC, Catechism, and Metrical Psalms. Thus, his success rested on both cheap and exp
