Muzyka wobec rewolucji druku: przemiany w kulturze muzycznej XVI wieku
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Toruń
Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika
2011
|
| Schriftenreihe: | Monografie Fundacji na Rzecz Nauki Polskiej
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Music and the printing revolution |
| Beschreibung: | 319 s. il. - Ill. 22 cm. |
| ISBN: | 9788323127208 |
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Datensatz im Suchindex
| _version_ | 1804148809579626496 |
|---|---|
| adam_text | Spis treści
WYKAZ
EXEMPLÓW
...................................................................................... 9
WPROWADZENIE
............................................................................................
ц
PROLOG. OD PERGAMINU DO PAPIERU
...........................................................
I9
ROZDZIAŁ
1.
POWSTANIE I ROZWÓJ DRUKARSTWA MUZYCZNEGO
............ 25
1.1.
Początki drukarstwa muzycznego
.................................................. 25
1.2.
Czasy Petrucciego i Antka: druk wielokrotny ¡drzeworyt
....... 31
1.3.
Druk pojedynczy: od Attaingnanta do przełomu wieków
.......... 44
ROZDZIAŁ
2.
TYPY I ROZMIAR PRODUKCJI DRUKARSKIEJ
.......................... 57
2.1.
Typy druków muzycznych
.............................................................. 57
2.2.
Wysokość nakładów
......................................................................... 64
2.3.
Wielkość produkcji drukarskiej
..................................................... 72
ROZDZIAŁ
3.
OD DRUKARZA DO ODBIORCY
................................................ 79
3.1.
Koszty i ceny
.....................................................................................
yg
3.2.
Kolportaż
.......................................................................................... 89
3.3.
Krąg odbiorców i kolekcjonerstwo
................................................ 94
ROZDZIAŁ
4.
DRUK A POWSTANIE RYNKU MUZYCZNEGO
..........................
105
4.1.
Wygląd druku pochodną decyzji ekonomicznych
....................... 105
4.2.
Strony tytułowe jako forma reklamy
.............................................. 115
4.3.
Dobór repertuaru a wymogi rynku
............................................... 129
4.4.
Pozyskiwanie protektorów
.............................................................. 138
4.5.
Konkurencja
...................................................................................... 154
ROZDZIAŁ
5.
ZNACZENIE DRUKU DLA KULTURY MUZYCZNEJ
.................... 169
5.1.
Druk a alfabetyzacja muzyczna
..................................................... 169
5.2.
Unifikujące znaczenie druku
.......................................................... 178
5.3.
Druk umacnia podziały
................................................................... 191
5.4.
Konserwująca moc druku
.............................................................. 202
5.5.
W służbie propagandy religijnej i politycznej
.............................. 214
ROZDZIAŁ
6.
KOMPOZYTORZY W OBLICZU NOWEGO MEDIUM
.................. 229
6.1.
Narodziny nowożytnego autorstwa
............................................... 229
6.2.
Kreowanie indywidualności
........................................................... 245
6.3.
Druk a przemiany twórczości kompozytorskiej
........................... 257
EPILOG. OD DRUKU DO RĘKOPISU
................................................................... 265
ZAKOŃCZENIE
............................................................................................... 273
BIBLIOGRAFIA
............................................................................................... 277
WYKAZ ILUSTRACJI
....................................................................................... 295
SUMMARY. MUSIC AND THE PRINTING REVOLUTION. TRANSFORMATIONS
IN THE MUSICAL CULTURE OF THE SIXTEENTH CENTURY
.................. 299
INDEKS OSÓB ORAZ TYTUŁÓW DRUKÓW I DZIEŁ MUZYCZNYCH
.................
303
Summary
Music and the printing revolution.
Transformations in the musical culture
of the sixteenth century
The book provides a comprehensive view of the influence of printing on
musical culture in the sixteenth century. In the introduction ( Prologue.
From parchment to paper ) the author points to the developments which
prepared the ground for Gutenberg s invention: the spread of the use of
paper in Europe, and the dynamic development of writing dating from
the fourteenth century. The first chapter ( The origin and development of
music printing ) describes, among other things, the technical problems
which the first printers had to overcome and the close dependence of the ear¬
ly prints on manuscript practice, as well as the key significance of the inven¬
tion of single-impression printing. The second chapter ( Types and volume
of print production) is devoted to the typology of sixteenth-century music
editions and the quantitative aspects of publishing: edition sizes and the vol¬
umes of print production. During
1
501 -1600
at least
6 200
prints with poly¬
phonic music were published, which, given that editions would consist of
about
500
copies, means
3 100 000
copies. Print production, which started
to grow from about
1540,
was closely dependent on external economic and
social conditions. That period saw no less than
10 000
different publications
devoted to music, which included forms unknown in fifteenth-century man¬
uscript practice (e.g., cantionals, loose prints, occasional prints). The price
of prints, initially high, fell significantly with the arrival of single-impres¬
sion printing; even so, alongside cheap editions we also find luxury choir-
books (chapter
3:
From the printing-house to the user ). The most impor¬
tant item in printing production costs was paper (around half of the costs);
profit margins, which reached over ioo%, were also significant. Thanks to
reasonably efficient distribution, for which fairs and the network of contacts
between booksellers were of vital significance, inexpensive editions had
a chance of reaching a large circle of users, among whom of great importance
were the middle classes and individual customers. This encouraged the devel¬
opment of music collecting on a scale not encountered previously.
In the fourth chapter the author presents the emergence of the music
market which took place in the sixteenth century ( Printing and the emer-
,00
SUMMARY
gence
of the music market ). He points to the close relationship between the
external form of publications and technological and marketing consider¬
ations. It manifested itself in such developments as the standardisation and
simplification of music notation, as well as the widespread use of
partbooks.
Inexpensive music editions came onto the market; they made economical
use of paper, with densely printed pages and volume size limited to
12-20
folios (per each
partbook)
in quarto or octavo format. In the case of large
editorial projects the printed material was divided into many volumes
-
creating such series made more sense from the marketing point of view.
In the early music prints the title page had a purely identifying function
(e.g. Petracci), but already by the 1530s the amount of information con¬
tained in them was increasing. They then became advertising pages, boast¬
ing of the uniqueness and novelty of the printed music, and the reputation
of the composers. An analysis of the repertoire appearing in print shows
that the most popular music was that intended for a wide circle of recipi¬
ents, with a local emphasis, where compositions by well-known authors were
placed next to new works. Printers and publishers emphasised the virtues of
their publications on the title pages, sometimes quoting information which
was not true; this happened because they had to work in a competitive en¬
vironment, with competition partially regulated by a system of printing pri¬
vileges. However, printing monopolies, supported by the rulers, were
formed in some centres (England, France, Ducal Prussia). The sixteenth-
century printing trade would not have developed so successfully if it were
not for the support of protectors, who not only granted privileges (where
they were entitled to do so), but also contributed financially to the publi¬
cation of individual works. Composers tried to attract the favour of such
protectors
-
having compositions appear in print brought tangible benefits
both to the authors and to the addressees of the dedications. Printing thus
activated new forms of music sponsorship, at the same time bringing chang¬
es to the social conditions under which composers worked.
In the fifth chapter ( The significance of print for musical culture ) the
author begins by demonstrating the role of print in increasing music lite¬
racy: the accessibility of cheap textbooks, increasingly published in national
languages, as well as simple, didactic repertoire, led to growth in the num¬
bers of users of written music. This phenomenon should be regarded as
linked to Humanism and the Reformation, generally accepted as the main
beneficiaries of typography. In the sixteenth century one may also observe
opposing tendencies in the development of culture. The arrival of printing
meant that the world of music became unified, and some of the best exam¬
ples of this are provided by the European success of the madrigal, or the
availability of some music prints not only throughout the whole of Europe
but also in America. On the other hand, it became possible to confront dif¬
ferent styles; this was aided by, for example, various kinds of anthologies of
compositions, or musical polyglots , containing works in different langua¬
ges and genres. Another pair of conflicting tendencies involved the con¬
frontation of the old and the new. Although printers and editors attached
great importance to the repertoire being new, and theorists praised contem¬
porary composers, even as early as the sixteenth century music historicism
was beginning to take shape. The popularity of the works of Josquin long af¬
ter his death, and the later cult of Palestrina, can serve as examples here. The
history of music became longer, but, characteristically, its beginnings rarely
reached further back than to the time of the first prints: typography, which
so strongly promoted the present, also had powers of conservation. In the
sixteenth century printing also became an ally of propaganda, and this de¬
velopment can be observed in music publications as well. This concerns not
only songs with political and social content, distributed as loose prints, but
also printed dedications, laudatory poems, portraits and coats of arms used
to build the image of the patron.
Of particular importance, however, is the fact that printing influ¬
enced composers and their works, and this is the subject of the sixth chap¬
ter ( Composers and the new medium ). In the sixteenth century we see
a growing sense of authorship: it very quickly became the norm to place
composers names next to their works, in lists of contents and on title pages,
a practice not quite as widespread in the fifteenth century. Initially, this was
aimed at identifying the author, but very quickly became a form of adver¬
tising, both for the author and for the edition carrying a well-known name.
The composer became an object in the print market, jealously guarding his
property with increasing frequency. We can discern the beginnings of copy¬
right in the early privileges granted to composers, although this related not
so much to the works themselves as to their circulation in print. Typogra¬
phy also increased the artists sense of their individuality. The publication
of poems praising such musicians as Lasso or
Handl
Gallus,
the inclusion
of composers portraits, the placing of laudatory epithets next to compos¬
ers names, all contributed to creating images of masters with clearly delin¬
eated personalities. Composers had an opportunity to become more close¬
ly involved in their compositions, since print gave them greater control over
the text of their works than had been possible in the fifteenth century. It also
enforced the use of specific creative strategies, such as composing closed cy¬
cles of works. The power of print is best conveyed by the change in the di¬
rection of influence: while early prints were modelled on manuscripts,
al-
ready by the mid-sixteenth century we find many manuscripts modelled on
prints ( Epilogue. From print to manuscript ).
In conclusion, the author observes that the significance of the printing
revolution for musical culture affects two areas in special ways: the emer¬
gence of the music market and the expansion of social and aesthetic hori¬
zons of musical culture. Clearly, some of the observed phenomena only pro¬
vided the yeast for certain tendencies which, with varying intensity, were
fermented in centuries which followed. This allows one to see the printing
revolution as one of the harbingers of the arrival of the modern era in the
history of musical culture.
Translated by
Zofia
Weaver
|
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| id | DE-604.BV039868858 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:13:02Z |
| institution | BVB |
| isbn | 9788323127208 |
| language | Polish |
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| physical | 319 s. il. - Ill. 22 cm. |
| publishDate | 2011 |
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| publisher | Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika |
| record_format | marc |
| series2 | Monografie Fundacji na Rzecz Nauki Polskiej |
| spelling | Gancarczyk, Paweł 1970- Verfasser (DE-588)1036276317 aut Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku Paweł Gancarczyk Toruń Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika 2011 319 s. il. - Ill. 22 cm. txt rdacontent n rdamedia nc rdacarrier Monografie Fundacji na Rzecz Nauki Polskiej Zsfassung in engl. Sprache u.d.T.: Music and the printing revolution Geschichte 1500-1600 gnd rswk-swf Musikdruck (DE-588)4075121-1 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Europa (DE-588)4015701-5 g Musikdruck (DE-588)4075121-1 s Geschichte 1500-1600 z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024728230&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024728230&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Gancarczyk, Paweł 1970- Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku Musikdruck (DE-588)4075121-1 gnd |
| subject_GND | (DE-588)4075121-1 (DE-588)4015701-5 |
| title | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku |
| title_auth | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku |
| title_exact_search | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku |
| title_full | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku Paweł Gancarczyk |
| title_fullStr | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku Paweł Gancarczyk |
| title_full_unstemmed | Muzyka wobec rewolucji druku przemiany w kulturze muzycznej XVI wieku Paweł Gancarczyk |
| title_short | Muzyka wobec rewolucji druku |
| title_sort | muzyka wobec rewolucji druku przemiany w kulturze muzycznej xvi wieku |
| title_sub | przemiany w kulturze muzycznej XVI wieku |
| topic | Musikdruck (DE-588)4075121-1 gnd |
| topic_facet | Musikdruck Europa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024728230&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024728230&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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