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1153 results in Seventeenth-Century Music

Page 17 of 58

  • 2 - Constructing the Divertissement

  • from Part I - Lully
  • Rebecca Harris-Warrick, Cornell University, New York
  • Book:
    Dance and Drama in French Baroque Opera
    Published online:
    03 November 2016
    Print publication:
    27 October 2016, pp 24-81
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  • ‘YONG BEGINNERS, WHO LIVE IN THE COUNTREY’: JOHN PLAYFORD AND THE PRINTED MUSIC MARKET IN SEVENTEENTH-CENTURY ENGLAND

  • Stephanie Carter
  • Journal:
    Early Music History / Volume 35 / October 2016
    Published online by Cambridge University Press:
    28 September 2016, pp. 95-129
    Print publication:
    October 2016

  • John Playford dominated the commercial music publishing trade of mid-seventeenth-century England, encouraging musical literacy and supplying beginner books for the growing domestic amateur musical class. Playford was clearly aware of the need to attract as many customers as possible in order to succeed in a commercial business; however, very little is known about his customers. This article identifies the contemporary audiences of seventeenth-century English printed music books, building on previous scholarship including Alec Hyatt King’s Some British Collectors of Music c. 1600–1900 (1963), and provides an initial record of provenance marks in surviving copies of the publications. Placing the printed book and its customer within the wider context of music-making and bookselling in seventeenth-century England develops our understanding of the social dimensions of the printed music trade, including dissemination and distribution networks.

  • A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE

  • John T. Brobeck
  • Journal:
    Early Music History / Volume 35 / October 2016
    Published online by Cambridge University Press:
    28 September 2016, pp. 1-93
    Print publication:
    October 2016

  • Frank Dobbins in memoriam

    In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.

Page 17 of 58