The Madrigal: A Research and Information Guide is the first comprehensive annotated bibliography of scholarship on virtually all aspects of madrigal composition, production, and consumption. It contains 1,237 entries for items in English, French, German, and Italian. Scholars, students, teachers, librarians, and performers now have access to this rich literature in a single volume.
In Hearing Homophony, Megan Kaes Long presents a groundbreaking model for understanding tonality and its origins, examining it through the lens of popular songs of late-Renaissance Western Europe.
For more than three decades Richard Charteris has researched European music, sources and collections, focusing particularly on late Renaissance England, Germany and Italy. This group of essays, many concerning previously unknown or unexplored works and materials, covers the 16th and early to mid 17th centuries. The studies involve variously 'new' compositions, music manuscripts and editions, and documents that relate to figures such as the Italians Giovanni Gabrieli, Claudio Monteverdi and Alfonso Ferrabosco the Elder, the Germans Hans Leo Hassler and Adam Gumpelzhaimer, as well as the Englishmen John Coprario, John Dowland, John Jenkins, Henry Lawes, William Lawes, Peter Philips, and the French composer Marin Marais. In addition, Charteris elucidates contemporary performance practice in relation to works by Gabrieli, investigates printed music editions that originated from the Church of St Anna, Augsburg, and evaluates materials in collections, inlcuding ones in Berlin, Hamburg, Kraków, London, Regensburg and Warsaw.
Editing Music in Early Modern Germany argues that editors played a critical role in the transmission and reception of Italian music outside Italy. Like their counterparts in the world of classical learning, Renaissance music editors translated texts and reworked settings from Venetian publications, adapting them to the needs of northern audiences. Their role is most evident in the emergence of the anthology as the primary vehicle for the distribution of madrigals outside Italy. As a publication type that depended upon the judicious selection and presentation of material, the anthology showcased editorial work. Anthologies offer a valuable case study for examining the impact of editorial decision-making on the cultivation of particular styles, genres, authors and audiences. The book suggests that music editors defined the appropriation of Italian music through the same processes of adaptation, transformation and domestication evident in the broader reception of Italy north of the Alps. Through these studies, Susan Lewis Hammond's work reassesses the importance of northern Europe in the history of the madrigal and its printing. This book will be the first comprehensive study of editors as a distinct group within the network of printers, publishers, musicians and composers that brought the madrigal to northern audiences. The field of Renaissance music printing has a long and venerable scholarly tradition among musicologists and music bibliographers. This study will contribute to recent efforts to infuse these studies with new approaches to print culture that address histories of reading and listening, patronage, marketing, transmission, reception, and their cultural and political consequences.
In 1997, twenty-five years after its first publication, Thematic Catalogues in Music-An Annotated Bibliography (Pendragon Press, 1972) appeared in a completely revised and expanded Second Edition. It contains almost twice as many entries as its predecessor; virtually every one of the original entries has been updated; and the following noteworthy features have been added.1. A second introductory essay detailing trends and innovations in thematic cataloguing brought about by the revolution in technology of the past twenty years. 2. Appendices listing thematic catalogues in series; both by national organizations and publishers; a detailed up-to-date, country-by-country report of activities worldwide; a listing of major computerized databanks. 3. New double-column format. 4. Numerous illustrations and reproductions of pages from thematic catalogues of historical significance. The second edition continues the policy of listing all known thematic catalogues and indexes, including those in doctoral dissertations, masters essays, and computer databanks, as well as in-progress and unpublished works, plus reviews, and literature about thematic cataloguing. The original numbering of the 1972 entries has been retained, with new items appearing in proper alphabetical/chronological sequence but with the addition of decimal numbers and/or letters (363.1 or 960a). Lastly, the original historical introduction and special appendices of the first edition have been retained with emendations where needed.
Giovanni Gabrieli (c.1555-1612) is the greatest Venetian composer of the late Renaissance, and one of the most significant figures of the period. Since the time when Richard Charteris was invited by the American Institute of Musicology to edit Giovanni Gabrieli's complete works in twelve volumes for the series Corpus mensurabitis music?, he has uncovered a considerable number of previously unknown works by this composer, and discovered a vast quantity of hitherto unknown sources of h is music. This thematic catalogue presents data about these discoveries and many others, besides collating an enormous amount of widely-scattered information. The catalogue covers: UL>l(1)the early music manuscripts and prints, almost all of which the auth or has consulted firsthand in collections in the northern hemisphere; /ll(2) a selection of modern music manuscripts;/ll (3) theplethora of modern editions and printed fragments; /ll(4) the sound recordings, including 78s, long-playing records and CDs; /ll(5) the relevant literature dealing with each work; /ll(6) the nature of the vocal texts and their use at St. Mark's; /ll(7) the doubtful and spurious works, among them pieces that are wrongly accepted today as genuine; and /ll(8), the parodies of Gabrieli's works by other composers./l/ul> There is much else in the book, not the least being a thematic indicator of each work and an English translation of each of Gabrieli's vocal texts. In short, this book will be an invaluable reference work for anyone concerned with the music of Giovanni Gabrieli, be they scholars, students or performers.
The repertory he cites is virtually unknown, says Edwards, and was written by equally unknown composers, most of whom never rose above local fame and none of whom made a fortune. He lists sources, concertos for various solo instruments, works by publisher, information about lost concertos, and the work of the prolific composers such as Charles Avison and William Corbell.
