Early Music Printing in German-Speaking Lands

Andrea Lindmayr-Brandl holds a chair of music history at the University of Salzburg, Austria. She studied music, musicology, philosophy and mathematics at her home university, at the Mozarteum Salzburg and at the Schola Cantorum Basiliensis. Her doctoral dissertation examined the sources of the motets of Johannes Ockeghem, and her habilitation studied Schubert’s musical fragments. She has held the Austrian Chair Professorship at Stanford University, has been guest professor at the University of Vienna and is an active member of several academic institutions and organisations. She directs two research projects: one on the critical edition of works by Gaspar van Weerbeke, the other the project Early music printing in German-speaking lands. Elisabeth Giselbrecht is an early career fellow at King’s College, London, UK. She completed her undergraduate and Master’s degrees in Vienna (including a term at New York University), followed by a PhD on the dissemination of Italian sacred music in German-speaking lands in early modern Europe at the University of Cambridge (2012). She then took up a post-doctoral position at the University of Salzburg, working on the project and database Music printing in German-speaking lands. Her current research project, entitled Owners and Users of Early Music Books, is funded by a Leverhulme Early Career Fellowship. Grantley McDonald is a postdoctoral researcher and lecturer in the department of musicology, University of Vienna, Austria, where he directs the FWF research project The court chapel of Maximilian I: between art and politics. He holds doctoral degrees in musicology (Melbourne, 2002) and history (Leiden, 2011). Grantley has held postdoctoral fellowships at Wolfenbüttel, Tours, Leuven, Dublin, and Universität Salzburg, where he worked on the project Early music printing in German-speaking lands. His research has been distinguished with prizes from the Australian Academy of the Humanities (Canberra) and the Praemium Erasmianum Foundation (Amsterdam). He is author of Biblical Criticism in Early Modern Europe: Erasmus, the Johannine Comma and Trinitarian Debate (Cambridge, 2016).

Introduction Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald Part I. Music printing and publishing in the fifteenth century 1. Early music printing and ecclesiastic patronage Mary Kay Duggan 2. German-speaking printers and the development of music printing in Spain (1485–1505) Margarita Restrepo Part II. Printing techniques: problems and solutions 3. ‘Made in Germany’: the dissemination of mensural German music types outside the German-speaking area (and vice versa), up to 1650 Laurent Guillo 4. Printing music: technical challenges and synthesis, 1450–1530 Elisabeth Giselbrecht and Elizabeth Savage 5. ‘Synopsis musicae’: charts and tables in sixteenth-century music Textbooks Inga Mai Groote Part III. Music printing and commerce 6. Melchior Lotter: a German ‘music printer’ Elisabeth Giselbrecht 7. The music books of Christian Egenolff: bad impressions = good return on investment John Kmetz 8. The music editions of Christian Egenolff: a new catalogue and its implications Royston Gustavson Part IV. Music printing and intellectual history 9. The cult of Luther in music Grantley McDonald 10. Theobald Billican and Michael’s ode settings in print: notes on an exceptional transmission Sonja Tröster 11. Polyphonic music in early German print: changing perspectives in music historiography Andrea Lindmayr-Brandl