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.

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.

International Exchange in the Early Modern Book World presents new research on several aspects of the movement and exchange of books between countries, languages and confessions. It considers elements of the international book trade, the circulation and collection of texts, the practice of translation and the diffusion and exchange of technical and cultural knowledge. Commercial and logistical aspects of the early modern book trade are considered, as are the relationships between local markets and the internationally-minded firms which sought to meet their expectations. The barriers to the movement of books across borders – political, linguistic, confessional, cultural – are explored, as are the means by which these barriers were surmounted.

Cross-disciplinary perspectives on responses to material and spiritual loss in early modern Germany trace how individuals and communities registered, coped with, and made sense of deprivation through a spectrum of activities, often turning loss into gain and acquiring agency.

The first genuinely interdisciplinary study of creativity in early modern England In the seventeenth century, the concept of creativity was far removed from most of the fundamental ideas about the creative act - notions of human imagination, inspiration, originality and genius - that developed in the eighteenthand nineteenth centuries. Instead, in this period, students learned their crafts by copying and imitating past masters and did not consciously seek to break away from tradition. Most new material was made on the instructions of apatron and had to conform to external expectations; and basic tenets that we tend to take for granted-such as the primacy and individuality of the author-were apparently considered irrelevant in some contexts. The aim of this interdisciplinary collection of essays is to explore what it meant to create buildings and works of art, music and literature in seventeenth-century England and to investigate the processes by which such creations came into existence. Through a series of specific case studies, the book highlights a wide range of ideas, beliefs and approaches to creativity that existed in seventeenth-century England and places them in the context of the prevailing intellectual, social and cultural trends of the period. In so doing, it draws into focus the profound changes that were emerging in the understanding of human creativity in early modern society - transformations that would eventually lead to the development of a more recognisably modern conception of the notion of creativity. The contributors work in and across the fields of literary studies, history, musicology, history of art and history of architecture, and their work collectively explores many of the most fundamental questions about creativity posed by the early modern English 'creative arts'. REBECCA HERISSONE is Head of Music and Senior Lecturer in Musicology at the University of Manchester. ALAN HOWARD is Lecturer in Music at the University of East Anglia and Reviews Editor for Eighteenth-Century Music. Contributors: Linda Phyllis Austern, Stephanie Carter, John Cunningham, Marina Daiman, Kirsten Gibson, Raphael Hallett, Rebecca Herissone, Anne Hultzsch, Freyja Cox Jensen, Stephen Rose, Andrew R. Walkling, Amanda Eubanks Winkler, James A. Winn.

The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive. Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.

A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty’s unique position in the cultural life of early modern Europe. Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodríguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.

Printed Musical Propaganda in Early Modern England reveals how consistently music, in theory and practice, was used as propaganda in a variety of printed genres that included or discussed music from the English Civil Wars through the reign of William and Mary. These printed items—bawdy broadside ballads, pamphlets paid for by Parliament, sermons advertising the Church of England’s love of music, catch-all music collections, music treatises addressed to monarchs, and masque and opera texts—when connected in a contextual mosaic, reveal a new picture of not just individual propaganda pieces, but multi-work propaganda campaigns with contributions that cross social boundaries. Musicians, Royalists, Parliamentarians, government officials, propagandists, clergymen, academics, and music printers worked together setting musical traps to catch the hearts and minds of their audiences and readers. Printed Musical Propaganda proves that the influential power of music was not merely an academic matter for the early modern English, but rather a practical benefit that many sought to exploit for their own gain.

Buying and Selling explores the many facets of the business of books across and beyond Europe, adopting the viewpoints of printers, publishers, booksellers, and readers. Essays by twenty-five scholars from a range of disciplines seek to reconstruct the dynamics of the trade through a variety of sources. Through the combined investigation of printed output, documentary evidence, provenance research, and epistolary networks, this volume trails the evolving relationship between readers and the book trade. In the resulting picture of failure and success, balanced precariously between debt-economies, sale strategies and uncertain profit, customers stand out as the real winners.