Stanley Boorman is Professor in the Department of Music at New York University, USA.

'In summary, the reader of this collection will be deeply rewarded for taking the care to read each of these essays and observe a keen intellect at work... Any comprehensive collection of published research on early music in Europe must acquire this book of thoughtful and seminal studies.' Notes ’While across the essays Boorman writes for a narrow audience of specialists, his methodology has implications for studies of the sociology of books, the nature of evidence, the interaction of printed and manuscript sources (and their subsequent scholarly study), and the role of the market in the production of texts... The work of Stanley Boornlan is familiar and 'required reading' for all students and scholars of early music printing.’ Sixteenth Century Journal

• Contents: Introduction. Printing: The 'first' edition of the Odhecaton A; Petrucci's type-setters and the process of stemmatics; A case of work and turn half-sheet imposition in the early 16th century; Printed music books of the Italian Renaissance from the point of view of manuscript study; The Salzburg liturgy and single-impression music printing. Publishing: Early music printing: working for a specialized market; Some non-conflicting attributions, and some newly anonymous compositions, from the early 16th century; The music publisher's view of his public's abilities and taste: Venice and Antwerp. Performance: Notational spelling and scribal habit; False relations and the cadence; Two aspects of performance practice in the Sistine Chapel of the early 16th century. Indexes.

Stanley Boorman is Professor in the Department of Music at New York University, USA.

'In summary, the reader of this collection will be deeply rewarded for taking the care to read each of these essays and observe a keen intellect at work... Any comprehensive collection of published research on early music in Europe must acquire this book of thoughtful and seminal studies.' Notes ’While across the essays Boorman writes for a narrow audience of specialists, his methodology has implications for studies of the sociology of books, the nature of evidence, the interaction of printed and manuscript sources (and their subsequent scholarly study), and the role of the market in the production of texts... The work of Stanley Boornlan is familiar and 'required reading' for all students and scholars of early music printing.’ Sixteenth Century Journal

• Contents: Introduction. Printing: The 'first' edition of the Odhecaton A; Petrucci's type-setters and the process of stemmatics; A case of work and turn half-sheet imposition in the early 16th century; Printed music books of the Italian Renaissance from the point of view of manuscript study; The Salzburg liturgy and single-impression music printing. Publishing: Early music printing: working for a specialized market; Some non-conflicting attributions, and some newly anonymous compositions, from the early 16th century; The music publisher's view of his public's abilities and taste: Venice and Antwerp. Performance: Notational spelling and scribal habit; False relations and the cadence; Two aspects of performance practice in the Sistine Chapel of the early 16th century. Indexes.

Stanley Boorman is Professor in the Department of Music at New York University, USA.

'In summary, the reader of this collection will be deeply rewarded for taking the care to read each of these essays and observe a keen intellect at work... Any comprehensive collection of published research on early music in Europe must acquire this book of thoughtful and seminal studies.' Notes ’While across the essays Boorman writes for a narrow audience of specialists, his methodology has implications for studies of the sociology of books, the nature of evidence, the interaction of printed and manuscript sources (and their subsequent scholarly study), and the role of the market in the production of texts... The work of Stanley Boornlan is familiar and 'required reading' for all students and scholars of early music printing.’ Sixteenth Century Journal

• Contents: Introduction. Printing: The 'first' edition of the Odhecaton A; Petrucci's type-setters and the process of stemmatics; A case of work and turn half-sheet imposition in the early 16th century; Printed music books of the Italian Renaissance from the point of view of manuscript study; The Salzburg liturgy and single-impression music printing. Publishing: Early music printing: working for a specialized market; Some non-conflicting attributions, and some newly anonymous compositions, from the early 16th century; The music publisher's view of his public's abilities and taste: Venice and Antwerp. Performance: Notational spelling and scribal habit; False relations and the cadence; Two aspects of performance practice in the Sistine Chapel of the early 16th century. Indexes.