Creating a Tudor Musical Miscellany: the Mcghie/Tenbury 389 Partbooks
Creating a Tudor Musical Miscellany: the Mcghie/Tenbury 389 Partbooks
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创建都铎音乐杂集：Mcghie/Tenbury 389 部分手册
DOI：
10.1093/ml/gcaa057
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发表时间：
2021
影响因子：
0.3
通讯作者：
Butler K
中科院分区：
文献类型：
--
作者：
Butler K
最著名的都铎手稿部分本往往是完整或接近完整的成套作品，与已知的个人有关，复制精美，并有明确的剧目重点。然而，这样的手稿在现存的部分书中并不是常态。更确切地说，大多数是起源模糊的，是日常复制的产物，以孤儿或部分集的形式存活下来。它们都是内容广泛、复杂而看似混乱的杂书，它们的挑战往往会阻碍学术界的关注。这篇文章聚焦于两本Partbook幸存下来的一个特殊的杂物-私人拥有的McGhie Partbook和Bodleian Library Tenbury MS 389-以探索这些藏品可以揭示什么关于编纂者的方法和习惯以及音乐的流通。这些部分书分几个阶段组合在一起，展示了几种不同的收集和选择作品的策略，组织抄写员劳动的方法，以及音乐印刷文化对手稿生产的影响。
The best-known Tudor manuscript partbooks tend to be complete or near-complete sets, associated with known individuals, elegantly copied, and with a clear repertorial focus. Yet such manuscripts are not the norm among extant partbooks. Rather most are obscure in origin, the product of workaday copying, and survive as orphans or partial sets. They are miscellanies with wide-ranging contents, complex and seemingly chaotic in their compilation, and their challenges have tended to deter scholarly attention. This article focuses on one particular miscellany from which two partbooks survive—the privately owned McGhie partbook and Bodleian Library Tenbury MS 389—to explore what such collections can reveal about the methods and habits of compilers and the circulation of music. These partbooks were assembled in a series of stages that demonstrate several different strategies for the collection and selection of pieces, methods for organizing scribal labour, and the influence of musical print culture on manuscript production.