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Books About Music in Renaissance Print Culture: Authors, Printers, and Readers

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Books About Music in Renaissance Print Culture: Authors, Printers, and Readers BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book. Renaissance books about music combine text, sound, and image in ways that resonate with contemporary developments in literary, philosophical, and scientific books. I show that Renaissance writers about music grappled early on with issues that also plagued (and continue to vex) authors in all fields: engaging unknown and distant readers, writing clearly about difficult subjects, and publishing timely and commercially viable texts. Surviving copies of books by music theorists contain unusually significant evidence of intense interactions between their iii producers and consumers. Textual and paratextual features introduced by authors, technical innovations by printers, and heavy annotations by readers all demonstrate each party reaching out across the page to the others. I argue that these attempts to diagnose and to solve the unique challenges of writing and reading about music constitute a critical chapter in the history of the book and in the history of music. iv ACKNOWLEDGEMENTS It is a pleasure to recognize those individuals and institutions that have supported this project. I have received constant support from various organizations within the University of North Carolina at Chapel Hill—the Graduate School, the Department of Music, and the Program in Medieval and Early Modern Studies allowed me to conduct research across the globe, provided time and space to think, and contributed generous research and financial assistance at several critical junctures. A Charles Montgomery Gray Fellowship from the Newberry Library allowed me to complete a large portion of research on their significant collection of Renaissance books about music. An Alvin H. Johnson AMS 50 Dissertation Fellowship from the American Musicological Society afforded me the opportunity to complete this project unencumbered by other distractions. Projects on rare books require, well, rare books. Many librarians and archivists helped to expedite my research by providing generous access to the materials I needed. A list of such individuals easily could fill many pages. I wish to thank in particular the following individuals who went out of their way to help me while I conducted research at their institutions: Emily Ferrigno (Irving S. Gilmore Music Library, Yale University), Paul Gehl (Newberry Library), Veronika Giglberger (Bayerische Stattsbibliothek), Sabine Kurth (Bayerische Staatsbibliothek), Suzanne Lovejoy (Irving S. Gilmore Music Library, Yale University), Tiziana Morsanuto (Biblioteca del Conservatorio “Santa Cecilia”), Rosario Todero (Biblioteca Casanatense), and Alfredo Vitolo (Museo Internazionale e Biblioteca della Musica). Chiara Pancino graciously v facilitated access to materials at the Biblioteca del Conservatorio “Benedetto Marcello” while the library was under renovation. Elisabetta Caldelli (Biblioteca Vallicelliana) and Samantha Gilchrist (Special Collections, University of Glasgow Library) provided detailed bibliographical assistance through correspondence. Susan Clermont (Music Division, Library of Congress), David Peter Coppen (Sibley Music Library, Eastman School of Music, University of Rochester), and Carla Zecher (Newberry Library) helped to shepherd me through the enormous collections at their respective libraries. Here at the University of North Carolina at Chapel Hill, Emily Kader and Kathleen Monahan, both of the Special Collections Library, provided generous access to the University’s rare books and directed my attention to some interesting uncataloged finds. Diane Steinhaus and Carrie Monette, both of the Music Library, provided reference assistance, answered innumerable queries, and made helpful suggestions at several stages. A number of scholars and friends provided invaluable advice. I was the fortunate recipient of kind critiques on early drafts of chapters from several graduate-student colleagues, particularly Molly Barnes, Megan Eagan, Matthew Franke, and Oren Vinogradov. I am especially grateful to Thomas Christensen, Jane Daphne Hatter, Susan Forscher Weiss, Adam Whittaker, and Richard Wistreich for sharing new and unpublished research with me. Cristle Collins Judd generously shared her ongoing research into the life and works of Zarlino and read the entire manuscript, providing many comments that helped sharpen or clarify my arguments. The members of my dissertation committee have provided unfailingly sound advice at numerous junctures. Tim Carter provided incisive, detailed comments and helped to improve many of the translations. John Nádas provided a number of useful suggestions about the relationship between prints and manuscripts. Mark Evan Bonds helped to focus my arguments and narrow the scope of the project. Phil Vandermeer lent a kind ear and pointed me toward valuable secondary literature. vi My dissertation advisor, Anne MacNeil, has gone above and beyond in seeing this project from its initial inception in a seminar paper through to completion. I am thankful for her instinctive ability to sense when I needed space to work, for prodding me gently along the process, and for several final pushes as this project drew to completion. Finally, I wish to thank my wife, Heather Brannon. The dubious honor of being an academic spouse carries with it many other duties: therapist, travel agent, editor, chef, and realist-in-chief. She watched as this project ballooned beyond its initial scope and waited patiently throughout the gestation process as it thinned down to something manageable. I am eager to repay the many hours she has loaned me to read, to think, and to write. vii TABLE OF CONTENTS LIST OF TABLES ......................................................................................................................... xi LIST OF FIGURES ...................................................................................................................... xii LIST OF ABBREVIATIONS ...................................................................................................... xiv LIST OF LIBRARY SIGLA ........................................................................................................ xvi NOTE ON REFERENCES AND TRANSCRIPTIONS................................................................xx CHAPTER ONE: INTRODUCTION ..............................................................................................1 Books about music and incipient print culture ..........................................................................5 Materializing theory, theorizing materiality ............................................................................20 Chapter overviews ...................................................................................................................32 CHAPTER TWO: AUTHORS ......................................................................................................35 The evolution of music theory books as printed objects ..........................................................37 Framing devices: Title pages, colophons, and visual decoration .......................................38 Organizational devices: Indices, textual segmentation, and marginal annotation .............48 Taming the printed beast: Lusitano, Vicentino, and Danckerts ...............................................57 Lusitano’s “Regina coeli” (1551) and Introduttione (1553) ..............................................57 Vicentino’s L’antica musica (1555) ..................................................................................67 Danckerts’s manuscripts ....................................................................................................74 Crafting Zarlino’s legacy .........................................................................................................91 Conclusion .............................................................................................................................103 viii CHAPTER
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