By Jeremy L. Smith
Within the London of Shakespeare and William Byrd, Thomas East was once the superior, usually particular, printer of track. As he tells the tale of this influential determine in early English track publishing, Jeremy Smith additionally deals a bright total portrait of a bustling and aggressive undefined, within which composers, buyers, publishers, and tradesmen sparred for artistic regulate and fiscal good fortune. It presents a really complete research of song publishing and a brand new approach of knowing where of musical tradition in Elizabethan occasions. additionally, Smith has compiled the 1st entire chronology of East's tune prints, in accordance with either bibliographical and paper-based proof.
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Extra info for Thomas East and Music Publishing in Renaissance England
Yet it may be significant to note that Bynneman owned part of the privilege for the music monopoly at the time of his death, that Barley had direct dealings with music monopolists at the time his inventory was completed, and that Roger Ward had been a notorious pirate of lucrative privileges in the past. M , , Music importation was another element of the queen’s music grant to Tallis and Byrd.
It may be overstating the case to suggest that the publication of the Musica Transalpina caused the dam of music printing to burst, but there certainly was a distinct rise in music printing to follow. After until well into the seventeenth century, music printing in England was a constant and conspicuous element of the national book trade. Thanks to the efforts of Yonge and, perhaps, to the continued economic success of the production of printed music paper, music printing began to flourish in England.
For all its importance, single-impression type was not a complete panacea for the music-printing trade. Economic troubles in Rome in the late s and afterward, for example, had lasting effects on the industry there. As Suzanne G. 14 And for all the economic vibrancy of Antwerp and other cities in the Netherlands, it turned out that no one there would establish an industry in music printing that could truly compete with that of Venice. Certainly printers like Pierre Phalèse and Tielman Susato were highly successful music traders who had a major impact on the musical life of Leuven and Antwerp,15 yet their individual output was decidedly less than that of Scotto and Gardano and in many ways more localized.