Italian Music Incunabula: Printers and TypeUniversity of California Press, 1 gen 1992 - 323 pagine Musical notation presented unusual challenges to the new craft of printing in the fifteenth century. Its demands were so difficult that the first impression of music from metal type was not made until a full twenty years after the first printed alphabetic texts. By the end of the century dozens of such fonts had appeared throughout Europe. The books that resulted were often impressive volumes of folio or large-folio size, printed in two colors, with woodcut illustrations. Mary Kay Duggan focuses on the technological processes developed in Italy to print music books. She begins by tracing the history and analyzing the techniques of casting and setting type and staves. She then identifies, classifies, and examines thirty-eight specific types. Finally, the author has compiled a descriptive bibliography of Italian music incunabula, including books containing either printed music or blank spaces for the insertion of manuscript music. Italian Music Incunabula marks a major advance in the study of the paleotypography of music. It greatly enhances our understanding of the impact of the printing press on music and the importance of music books in the work of early printers. Its meticulous bibliography of over 150 incunabula, concordances, and indices will make it the standard reference work for many years to come. Musical notation presented unusual challenges to the new craft of printing in the fifteenth century. Its demands were so difficult that the first impression of music from metal type was not made until a full twenty years after the first printed alphabetic texts. By the end of the century dozens of such fonts had appeared throughout Europe. The books that resulted were often impressive volumes of folio or large-folio size, printed in two colors, with woodcut illustrations. Mary Kay Duggan focuses on the technological processes developed in Italy to print music books. She begins by tracing the history and analyzing the techniques of casting and setting type and staves. She then identifies, classifies, and examines thirty-eight specific types. Finally, the author has compiled a descriptive bibliography of Italian music incunabula, including books containing either printed music or blank spaces for the insertion of manuscript music. Italian Music Incunabula marks a major advance in the study of the paleotypography of music. It greatly enhances our understanding of the impact of the printing press on music and the importance of music books in the work of early printers. Its meticulous bibliography of over 150 incunabula, concordances, and indices will make it the standard reference work for many years to come. |
Sommario
II | 1 |
III | 11 |
IV | 22 |
V | 42 |
VI | 77 |
IX | 80 |
X | 89 |
XI | 99 |
XIV | 169 |
XV | 171 |
XVI | 176 |
XVII | 179 |
XVIII | 182 |
XIX | 185 |
XX | 187 |
XXI | 273 |
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Ambr Ambrosian Anno Benali Biblioteca Binding blind-stamped leather Bologna Brescia CIBN clasps missing clivis Collation colophon Copies seen Decoration dñi edition Emerich of Speier Essling Explicit F clef F-Paris fifteenth century folio font Francesco GB-London Giovanni Girardengo Goff gold and colors Graduale Graduale Romanum Hamman Han's I-Milan Impreſſum initials in gold Italy Johann Emerich Johann Hamman kerned Lacks f Leonard Pachel liturgical lozenge major initials manuscript mensural notation metal rules Milan miſſale Missale Ambrosianum Missale Romanum Missale Strigoniense Music form Music pages music printing music type neumes notation notehead notes and staves numbered Parma Pavia Pellechet Petrucci's plainchant Planck podatus Praedicatorum printed music printed notes printed staves printer printer's mark Provenance Punctum quarto red 4-line staves RISM roman plainchant romane curie Rome Sander Scinzenzeller Scoto space for music staff stem text type Vatican City vellum Venice virga woodcut Crucifixion x-height