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University Micrdfilms International 300 N INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1 . The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2 . 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Micrdfilms international 300 N. Zeeb Road Ann Arbor, Ml 48106 8228188 Agee, Richard Jon THE PRIVILEGE AND VENETIAN MUSIC PRINTING IN THE SIXTEENTH CENTURY Princeton University PH.D. 1982 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1982 by Agee, Richard Jon All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages 2. Colored illustrations, paper or print_ 3. Photographs with dark background 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy_ 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements _____ 9. Tightly bound copy with print lost in spine___ 10. Computer printout pages with indistinct print 11. Page(s)___________ lacking when material received, and not available from school or author. 12. Page(s)___________ seem to be missing in numbering only as text follows. 13. Two pages numbered ___________ . Text follows. 14. Curling and wrinkled pages ______ 15. Other ___ __________________________________________________ University Microfilms International ·~-----····-·----- THE PRIVILEGE AND VENETIAN MUSIC PRINTING IN THE SIXTEENTH CENTURY Richard J. Agee A DISSERTATION PRESENTED TO THE FACULTY OF PRINCETON UNIVERSITY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY RECOMMENDED FOR ACCEPTANCE BY THE DEPARTMENT OF MUSIC October 1982 Principal readers for this dissertation were Kenneth Levy and Harold S. Powers ABSTRACT This dissertation explores the use and meaning of the Venetian printing privilege in music publications of the sixteenth century. Chapter One details the actual process by which a privi­ lege was obtained, concentrating on the structure of the Venetian government, pertinent printing legislation, and the extant documentary sources used in the remainder of the study. The chapter closes with the brief examination of a specific privilege request by the Venetian music printer Antonio Gardano, accompanied by facsimiles of the appropri­ ate documents. Chapter Two reviews the literature on privileges in gen­ eral and on music privileges in particular. Special atten­ tion is paid to the cursory and misleading treatment of privileges in the musicological literature, especially in regard to the alleged rivalry between the music printers Antonio Gardano and Girolamo Scoito. Chapter Three relates the testimony of the prints to that of the archival sources, and attempts to define the changes in the meaning of the privilege across the sixteenth and into the beginning of the seventeenth centuries. Selected privileges are examined for their music-historical signifi- can c e . - i i - Chapter F o u r explores some of the requirements and uses of the privilege, and suggests a hypothesis regarding requests for a privilege and contemporary judgements of musical quality. Chapter Five places the Venetian privilege in the larger context of privileges issued across Europe — in England, France, the Empire, and elsewhere in Italy. The Appendix consists of three sections: 1) tables which detail both chronologically and alphabetically the licenses and privileges for music prints in Venice, from 1497-1612, 2 ) transcriptions of documents which refer to the license and privilege procedures, from which the preceding tables are drawn, accompanied by transcriptions of miscellaneous documents relating to Venetian music printing of the six­ teenth century, and 3 ) analyses of the content and histori­ cal position of three privileged prints central to the musi­ cal output of Adrian Willaert: the Canzone villanesche of 1544, the Salmi of 1550, and Musica Nova of 1559* - i i i - TABLE OF CONTENTS Ra.6 .?. ABSTRACT..........................................................................................................................................i i PREFACE ......................................................................................................................................v i i CHAPTER ONE: The P r o c e s s ......................................................................... 1 A. The Government of the R e p u b lic .................................... 1 B. Printing Legislation (1517-1603) .................................... 8 1 . The L icense .......................................................................................... 8 2. The P rivilege ............................................................................................12 C. The S o u r c e s ................................................................................. 15 D. A Sample C a s e ......................................................................................................19 CHAPTER TWO: T h e Literature ...........................................................................30 A. The G eneral B a c k g r o u n d .........................................................................30 B. The Musical Background .........................................................................36 CHAPTER THREE: The Documents ................................................................ 6 6 A. 1527 to 1544 . 6 6 1. Francesco Marcolini ............................................................... 69 2. Francesco d’Asola ....................................................................... 73 3. Costanzo F esta ...........................................................................................76 4. Antonio G ardano ..................................................................................79 5. Andrea Arrivabene ........................................................................ 8 6 B. 1544 to 1584 89 1 . Girolamo S c o t t o ..................................................................................90 2. Cipriano de Rore . 93 3. Perissone Cambio ........................................................................ 95 4. Girolamo S c o tto ..................................................................................98 5. Domenico Splendore ............................................................... 100 6 . Nicola Vicentino ....................................................................... 101 7. Giovambattista Seriafcti ..................................................... 103 8. Antonio G ardano ...............................................................................105 9. Francesco V io la ...............................................................................107 10. Girolamo Dalla C a sa ......................................................................123 C. 1584 to 1603 and beyond ........................................................................127 CHAPTER FOUR: The M usic P r i v i l e g e .............................................. 133 A. Som e Requirements and U ses ..............................................................134 B. Other Possibilities ........................................................................ 144 CHAPTER FIVE: The Foreign Privilege ............................................. 149 A. E n g l a n d ....................................................................................................................151 B. F r a n c e ...................................................................................................................156 C. The E m p i r e ...........................................................................................................161
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