The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446 - 1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provide a detailed catalogue of editions and copies.

The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446-1539) became the standard by which all following printers measured themselves. He created the defining moment when Italy took the lead in book printing in the Renaissance. This book is a bibliographic study of the output of the Petrucci presses, laying emphasis on the professional career of Petrucci. It includes a detailed study of technique and house-style, examining the market forces that drove Petrucci''s publishing decisions, and provides a detailed catalogue of editions and copies. Stanley Boorman has made a study of the output of Petrucci''s presses for 25 years. This long-awaited contribution to the field of bibliography will have an audience both in music and in rare book bibliography.

This volume presents a series of important essays by American and European scholars on some of the problems involved in attempting to perform music of the late Middle ages. The essays are based on papers read at a conference held at the New York University Center for Early Music in 1981 and they concern a varied selection of aspects of the subject; behind many lies an interest in the reopened question of how far instruments had a role in performing secular or sacred music. Among the questions tackled are: the types of harps found in fourteenth-century Italy, and their probable uses; the numbers of singers needed (with their ranges) for fourteenth-century English music; evidence for the use of instruments in the thirteenth century and for wind articulation in the late fourteenth; specific performing ensembles of the fifteenth century, and what they may have sung in a polyphonic Mass.

The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance. This series of close studies of the structure and content of 16th-century and early 17th-century editions (and some manuscripts) of music draws conclusions in a number of areas - printing techniques for music; the habits of different type-setters and scribes, and their view of performing practice; publishers' approaches to the musical market and its abilities and interests; apparent changes of plan in preparing editions; questions of authorship; evidence in editions and manuscripts for interpreting different levels of notation; ways in which scribes could influence performers' decisions, and others by which composers could exploit unusual sonorities.

The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance. This series of close studies of the structure and content of 16th-century and early 17th-century editions (and some manuscripts) of music draws conclusions in a number of areas - printing techniques for music; the habits of different type-setters and scribes, and their view of performing practice; publishers'' approaches to the musical market and its abilities and interests; apparent changes of plan in preparing editions; questions of authorship; evidence in editions and manuscripts for interpreting different levels of notation; ways in which scribes could influence performers'' decisions, and others by which composers could exploit unusual sonorities.

The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446 - 1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provide a detailed catalogue of editions and copies.

The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446-1539) became the standard by which all following printers measured themselves. He created the defining moment when Italy took the lead in book printing in the Renaissance. This book is a bibliographic study of the output of the Petrucci presses, laying emphasis on the professional career of Petrucci. It includes a detailed study of technique and house-style, examining the market forces that drove Petrucci''s publishing decisions, and provides a detailed catalogue of editions and copies. Stanley Boorman has made a study of the output of Petrucci''s presses for 25 years. This long-awaited contribution to the field of bibliography will have an audience both in music and in rare book bibliography.

This volume presents a series of important essays by American and European scholars on some of the problems involved in attempting to perform music of the late Middle ages. The essays are based on papers read at a conference held at the New York University Center for Early Music in 1981 and they concern a varied selection of aspects of the subject; behind many lies an interest in the reopened question of how far instruments had a role in performing secular or sacred music. Among the questions tackled are: the types of harps found in fourteenth-century Italy, and their probable uses; the numbers of singers needed (with their ranges) for fourteenth-century English music; evidence for the use of instruments in the thirteenth century and for wind articulation in the late fourteenth; specific performing ensembles of the fifteenth century, and what they may have sung in a polyphonic Mass.

The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance. This series of close studies of the structure and content of 16th-century and early 17th-century editions (and some manuscripts) of music draws conclusions in a number of areas - printing techniques for music; the habits of different type-setters and scribes, and their view of performing practice; publishers' approaches to the musical market and its abilities and interests; apparent changes of plan in preparing editions; questions of authorship; evidence in editions and manuscripts for interpreting different levels of notation; ways in which scribes could influence performers' decisions, and others by which composers could exploit unusual sonorities.

The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance. This series of close studies of the structure and content of 16th-century and early 17th-century editions (and some manuscripts) of music draws conclusions in a number of areas - printing techniques for music; the habits of different type-setters and scribes, and their view of performing practice; publishers'' approaches to the musical market and its abilities and interests; apparent changes of plan in preparing editions; questions of authorship; evidence in editions and manuscripts for interpreting different levels of notation; ways in which scribes could influence performers'' decisions, and others by which composers could exploit unusual sonorities.