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Awards
OverviewFull Product DetailsAuthor: Kate van Orden (Professor of Musicology, Professor of Musicology, University of California, Berkeley)Publisher: Oxford University Press Inc Imprint: Oxford University Press Inc Dimensions: Width: 23.60cm , Height: 2.30cm , Length: 16.00cm Weight: 0.612kg ISBN: 9780199360642ISBN 10: 0199360642 Pages: 344 Publication Date: 20 August 2015 Audience: College/higher education , Professional and scholarly , Tertiary & Higher Education , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsList of Illustrations PART I, A MATERIAL HISTORY OF THE CHANSON 1- Introduction: Livres de chansons What Is a Book of Music? Some Bibliographic Basics Forms and Formats Serial Publication Unbound Parts and Binder's Volumes Cataloguing Book History, Music Bibliography, and the Chanson 2- Printers and Booksellers Partbooks as Scripts for Performance Distribution en blanc Music Sales and Some Evidence of Stock Bindings 3- Collectors and Libraries Music in Private Collections Music Collections Small and Large Survival Rates Books in the Cabinet Chansonniers and Chapbooks of Poetry PART II, LEARNING TO READ 4- Singing and Literacy 5- Latin Primers Ave Maria and the ABCs The Catechists and the Canons Motets and Broad Readership 6- Civilities and Chansons Learning to Read in French The Caractères de Civilité for Music of Robert Granjon Polite Speech and Its Texts Trophées de Musique Duo Arrangements and Déchiffrage 7- A New Generation of Musical Civilities: The Quatrains de Pybrac Pibrac's Quatrains and Moral Restraint Pibrac, the Psalms, and the Business of Music Printing Postscript- Cultures of Music Notes Glossary Bibliography IndexReviewsThe study is characteristic of Kate van Orden's subtle, erudite negotiations between literary history and music history. It is full of insights relevant not just to musicologists but to anyone interested in the history of books in the early modern period. It navigates impressively between reflections likely to engage literary historians and explanations of musical material made accessible, with exemplary clarity and without simplification, to non-musicians. The examples, musical as well as visual and literary, are well chosen and analysed. --H-France From its image on the jacket cover to its endorsements on the back, Kate van Orden's Materialities promises 'to have resonance well beyond the fields of musicology and French Cultural History' ( Jennifer Richards). As a companion to her 2014 Music, Authorship, and the Book in the First Century of Print, Van Orden has produced erudite material for scholars wishing to know more about the production of music books, how they were read and used in the sixteenth and early seventeenth centuries. Over the past decade or so, material culture has become a subsidiary discipline of Renaissance studies, particularly in art history and Italian language and literature. Van Orden's work breaks new ground in the field of musicology. --Renaissance Quarterly The study is characteristic of Kate van Orden's subtle, erudite negotiations between literary history and music history. It is full of insights relevant not just to musicologists but to anyone interested in the history of books in the early modern period. It navigates impressively between reflections likely to engage literary historians and explanations of musical material made accessible, with exemplary clarity and without simplification, to non-musicians. The examples, musical as well as visual and literary, are well chosen and analysed. --H-FranceFrom its image on the jacket cover to its endorsements on the back, Kate van Orden's Materialities promises 'to have resonance well beyond the fields of musicology and French Cultural History' ( Jennifer Richards). As a companion to her 2014 Music, Authorship, and the Book in the First Century of Print, Van Orden has produced erudite material for scholars wishing to know more about the production of music books, how they were read and used in the sixteenth and early seventeenth centuries. Over the past decade or so, material culture has become a subsidiary discipline of Renaissance studies, particularly in art history and Italian language and literature. Van Orden's work breaks new ground in the field of musicology. --Renaissance Quarterly The study is characteristic of Kate van Orden's subtle, erudite negotiations between literary history and music history. It is full of insights relevant not just to musicologists but to anyone interested in the history of books in the early modern period. It navigates impressively between reflections likely to engage literary historians and explanations of musical material made accessible, with exemplary clarity and without simplification, to non-musicians. The examples, musical as well as visual and literary, are well chosen and analysed. --<em>H-France</em> The study is characteristic of Kate van Orden's subtle, erudite negotiations between literary history and music history. It is full of insights relevant not just to musicologists but to anyone interested in the history of books in the early modern period. It navigates impressively between reflections likely to engage literary historians and explanations of musical material made accessible, with exemplary clarity and without simplification, to non-musicians. The examples, musical as well as visual and literary, are well chosen and analysed. --H-France Author InformationKate van Orden specializes in cultural history. Her books include Music, Discipline, and Arms in Early Modern France (2005), which won the Lewis Lockwood Award from the American Musicological Society, the edited volume, Music and the Cultures of Print (2000), and Music, Authorship, and the Book in the First Century of Print (2014). She performs on historical bassoons and has recorded for Sony, Virgin Classics, Glossa, Teldec, and Harmonia Mundi. She is a professor of music at Harvard University. Tab Content 6Author Website:Countries AvailableAll regions |
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