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Manuscript Inscriptions in Early English Printed Music

DOI link for Manuscript Inscriptions in Early English Printed Music

Manuscript Inscriptions in Early English Printed Music book

Manuscript Inscriptions in Early English Printed Music

DOI link for Manuscript Inscriptions in Early English Printed Music

Manuscript Inscriptions in Early English Printed Music book

ByDavid Greer
Edition 1st Edition
First Published 2015
eBook Published 3 March 2016
Pub. location London
Imprint Routledge
DOI https://doi.org/10.4324/9781315593753
Pages 226 pages
eBook ISBN 9781315593753
SubjectsArts, Humanities, Language & Literature
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Greer, D. (2015). Manuscript Inscriptions in Early English Printed Music. London: Routledge, https://doi.org/10.4324/9781315593753

Who were the first owners of the music published in England in the sixteenth and early seventeenth centuries? Who went to ‘the dwelling house of … T. East, by Paules wharfe’ and bought a copy of Byrd’s Psalmes, sonets, & songs when it appeared in 1588? Who purchased a copy of Dowland’s First booke of songes in 1597? What other books formed part of their music library? In this survey of surviving books of music published before 1640, David Greer has gleaned information about the books’ early and subsequent owners by studying the traces they left in the books themselves: handwritten inscriptions, including names and other marks of ownership - even the scribbles and drawings a child of the family might put into a book left lying about.

The result is a treasure trove of information about musical culture in early modern England. From inscriptions and marks of ownership Greer has been able to re-assemble early sets of partbooks, as well as collections of books once bound together. The search has also turned up new music. At a time when paper was expensive, new pieces were copied into blank spaces in printed books. In these jottings we find a ‘hidden repertory’ of music, some of it otherwise undiscovered music by known composers. In other cases, we see owners altering the words of songs, to suit new and personal purposes: a love-song in praise of Daphne becomes a heartfelt song to ‘my Jesus’; and ‘Faire Leonilla’ becomes Ophelia (perhaps the first mention of this character in Hamlet outside the play itself). On a more practical level, the users of the music sometimes made corrections to printing errors, and there are indications that some of these were last-minute corrections made in the printing-house (a useful guide for the modern editor). The temptation to ‘scribble in books’ was as irresistible to some Elizabethans as it is to some of us today. In doing so they left us clues to their identity, how they kept their music, how they used it, and the multifarious ways in which it played a part in their lives.

TABLE OF CONTENTS

part |2 pages

Part I Introductory survey

chapter 1|8 pages

Introduction

chapter 2|14 pages

NamesandOtherIndicationsofOwnership

chapter 3|14 pages

WordsandMusic

chapter 4|12 pages

Numbers

chapter 5|10 pages

ScribblinginBooks

part |2 pages

Part II Manuscript inscriptions and other owners’ marks

chapter |1 pages

explanatoryNotes

chapter |1 pages

B:Belgium Br: Brussels, Bibliothèque Royale Albert 1er

chapter |2 pages

d:Germany hs:hamburg,Staats-unduniversitätsbibliothek 65

BycarlvonOssietzky

chapter |1 pages

dk:denmark

chapter |3 pages

F:France

chapter |57 pages

GB:GreatBritain

chapter I|1 pages

I:Italy

chapter |7 pages

Irl:Ireland

chapter |1 pages

J:Japan

chapter |1 pages

Nl:theNetherlands

chapter |53 pages

uS:unitedStatesofamerica auS:austin(tX),universityoftexasataustin,harryransom

chapter |6 pages

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