LEADER 03935nam 22009851 450 001 9910790521203321 005 20220408123424.0 010 $a0-520-95711-3 024 7 $a10.1525/9780520957114 035 $a(CKB)2550000001128787 035 $a(EBL)1463631 035 $a(OCoLC)861559023 035 $a(SSID)ssj0001037219 035 $a(PQKBManifestationID)11579578 035 $a(PQKBTitleCode)TC0001037219 035 $a(PQKBWorkID)11042760 035 $a(PQKB)10037577 035 $a(StDuBDS)EDZ0000229737 035 $a(DE-B1597)520741 035 $a(DE-B1597)9780520957114 035 $a(Au-PeEL)EBL1463631 035 $a(CaPaEBR)ebr10777406 035 $a(CaONFJC)MIL529421 035 $a(MiAaPQ)EBC1463631 035 $a(EXLCZ)992550000001128787 100 $a20130829d2014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMusic, authorship, and the book in the first century of print /$fKate van Orden 210 1$aBerkeley :$cUniversity of California Press,$d[2014] 210 4$dİ2014 215 $a1 online resource (257 p.) 300 $aDescription based upon print version of record. 311 $a0-520-27650-7 311 $a1-299-98170-4 320 $aIncludes bibliographical references and index. 327 $aThe world of books -- Music books and their authors -- Authors of lyric -- The book of poetry becomes a book of music -- Resisting the press : performance. 330 $aWhat does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western music's adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers. 606 $aMusic printing$xHistory$y16th century 606 $aMusic publishing$xHistory$y16th century 606 $aMusic$y16th century$xHistory and criticism 610 $a16th century. 610 $aart. 610 $aartists. 610 $abeauty. 610 $aclassical music. 610 $acomposers. 610 $acultural history. 610 $adance. 610 $aengaging. 610 $afamous composers. 610 $ahistory of music. 610 $amusic history. 610 $amusic printing. 610 $anobility. 610 $apage turner. 610 $apaintings. 610 $aperformance scripts. 610 $aperformers. 610 $aperforming arts. 610 $apolyphony. 610 $apublishing sacred music. 610 $arenaissance period. 610 $aretrospective. 610 $aromance. 610 $aromantic. 610 $aroyalty. 610 $awestern music. 610 $awriters. 615 0$aMusic printing$xHistory 615 0$aMusic publishing$xHistory 615 0$aMusic$xHistory and criticism. 676 $a070.5/79409031 686 $aMUS006000$2bisacsh 700 $aVan Orden$b Kate$01514253 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910790521203321 996 $aMusic, authorship, and the book in the first century of print$93749222 997 $aUNINA