Sources and the Circulation of Renaissance Music

Mary S. Lewis is Professor Emerita of Music, University of Pittsburgh, USA

’...like a well-curated museum exhibition, the whole is more than the sum of its parts. This volume provides valuable context: it places many of the field’s defining studies in dialogue with each other and allows readers to discover new or forgotten gems that have been tucked away in hard-to-access print copies of journals, Festschriften, and conference proceedings.’ Renaissance Quarterly

• Contents: Introduction; Part I Scribes and the Making of Manuscripts: Manuscript structure in the Dufay era, Charles Hamm; Simon Mellet, scribe of Cambrai cathedral, Liane Curtis; A contemporary perception of early 15th-century style: Bologna Q15 as a document of scribal editorial initiative, Margaret Bent; The origins of the Chigi Codex: the date, provenance, and original ownership of Rome, Biblioteca Vaticana, Chigiana, C.VIII.234, Herbert Kellman; Jean Michel, Maistre Jhan and a chorus of beasts: old light on some Ferrarese music manuscripts, Joshua Rifkin. Part II Sources, Politics and Transmission: European politics and the distribution of music in the early 15th century, Reinhard Strohm; A gift of madrigals and chansons: the Winchester Part Books and the courtship of Elizabeth I by Erik XIV of Sweden, Kristine K. Forney; Danish diplomacy and the dedication of Giardino novo II (1606) to King James I, Susan G. Lewis [Hammond]. Part III Sources and the Transmission of Repertory: The early Tudor court, the provinces and the Eton Choirbook, Magnus Williamson; Antwerp's role in the reception and dissemination of the madrigal in the North, Kristine K. Forney. Part IV Patrons and Collectors: The purpose of the gift: for display or for performance?, Stanley Boorman; Music in the library of Johannes Klein, Tom R. Ward; Music for the nuns of Verona: a story about MS DCCLXI of the Biblioteca Capitolare in Verona, Howard Mayer Brown; The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music, Donna G. Cardamone. Part V Music Printing: 1501-1528: The 500th anniversary of the first music printing: a history of patronage and taste in the early years, Stanley Boorman; The printing contract for the Libro primo de musica de la salamandra (Rome 1526), Bonnie J. Blackburn. Part VI Printing and Printing Houses after 1528: The Libro Primo of Constanzo Festa, James Haar; Twins, cousins, and heirs: relationships among editions of music printed in 16th-cen