Description

Book Synopsis
Near the end of the third decade of the sixteenth century, a five-volume set of madrigal and motet partbooks was assembled in Florence and sent as a giftor musical embassyto the English court of Henry VIII. The manuscript setminus the missing altus parthas been owned since 1935 by the Newberry Library in Chicago; but until H. Colin Slim's exhaustive efforts, no thorough study of the history or contents of the partbooks had been undertaken. At first encounter, these partbooks yield no clues concerning their provenance, their composers' names, or the reasons for their dispatch to England. In his search for this information, Professor Slim used the musicologists' customary tools, namely, biobibliography, concordances, and textual and musical analysis. But he also used bibliographers' tools not always employed by musicologists: watermarks, bindings, script, orthography, and illuminations. As a result of his efforts, the author was able to identify nearly all the works' composers and the ma

A Gift of Madrigals and Motets Volume 2

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    A Paperback / softback by H. Colin Slim

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      Book details

      Publisher The University of Chicago Press
      Published 1 September 1972
      ISBN-13 9780226762722
      978-0226762722
      ISBN-10 0226762726
      Also in:
      Sacred and religious music

      Description

      Book Synopsis
      Near the end of the third decade of the sixteenth century, a five-volume set of madrigal and motet partbooks was assembled in Florence and sent as a giftor musical embassyto the English court of Henry VIII. The manuscript setminus the missing altus parthas been owned since 1935 by the Newberry Library in Chicago; but until H. Colin Slim's exhaustive efforts, no thorough study of the history or contents of the partbooks had been undertaken. At first encounter, these partbooks yield no clues concerning their provenance, their composers' names, or the reasons for their dispatch to England. In his search for this information, Professor Slim used the musicologists' customary tools, namely, biobibliography, concordances, and textual and musical analysis. But he also used bibliographers' tools not always employed by musicologists: watermarks, bindings, script, orthography, and illuminations. As a result of his efforts, the author was able to identify nearly all the works' composers and the ma

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