Music in Print and Beyond

Music in Print and Beyond

Hildegard von Bingen to The Beatles

Edited by Craig A. Monson, Roberta Montemorra Marvin


University of Rochester Press



Fresh and innovative takes on the dissemination of music in manuscript, print, and, now, electronic formats, revealing how the world has experienced music from the sixteenth century to the present.
This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz.
Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life.

Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens.

Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013).
Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).


December 2013
31 black and white, 22 line illustrations
338 pages
9x6 in
Eastman Studies in Music
ISBN: 9781580464161
Format: Hardback
Library eBook
University of Rochester Press
BISAC MUS020000, HIS037010, HIS037020
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Table of Contents

Introduction - Craig Monson and Roberta Marvin
Robert Granjon and Music during the Golden Age of Typography - Kate van Orden
Publishing Music Theory in Early Cinquecento Venice and Bologna: Friends and Foes - Bonnie Blackburn
Preaching to the Choir: Arts of Persuasion in the Convents of Italy - Craig Monson
Music Distribution in London during Handel's Lifetime : Manuscript Copies versus Prints - Ellen T. Harris
Beethoven's Miniatures - Lewis Lockwood
"The Beautiful and the Ugly": Travel Literature, Racial Theory, and a Schumann Song - Susan Youens
Verdi's "Music of the Future" - Roberta Marvin
The Suspended Voice of Amália Rodrigues - Gabriela Cruz
More than Mostly Mozart: Teddy Wilson's "China Boy" - Paul S. Machlin
Wanted Dead and Alive : Historical Performance Practice and Electro-Acoustic Music from IRCAM to Abbey Road - Joseph Auner
Lowinsky's Secrets - Bonnie Gordon
The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts) - Honey Meconi
List of Contributors


There is a wealth of marvellous material here, some of it highly original, some of it highly informative. One example is the exploration of the differences between no fewer than seven consecutive takes the jazz pianist Teddy Wilson made of 'China Boy' in 1941, recently released for the first time and subjected to the most detailed analysis with new technology. Another is the truly fascinating study -- based largely on unpublished correspondence -- of how his Jewish background and exile influenced some of the most controversial views of (Renaissance-music scholar) Edward E. Lowinsky. GRAMOPHONE (David Fallows)

With contributions from some of the brightest minds in musicology, Music in Print and Beyond captures the imagination as few recent volumes have. As musicology increasingly confronts the power of media to shape the production of music and our experiences of it, these essays provide crucial historical and theoretical perspectives on creative and scholarly landscapes in transition. --Kevin C. Karnes, Associate Professor of Music History, Emory University

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