Dissemination, Ownership, and Reading of Music in early modern Europe

这个项目从音乐书籍的拥有者和读者的消费角度重写了印刷音乐资源的历史。在音乐学、书籍史（特别是阅读史）和参考书目的交叉点上运作，它提供了评估现代早期欧洲谁拥有音乐以及他们如何阅读音乐的新方法，将音乐带入了早期现代文学的话语中。为此，它汇集了来自不同领域的专家团队，由PI领导，在音乐学和书籍历史方面都有工作记录。他们将利用1500年至1545年这一音乐印刷的关键时期（音乐印刷的“incunabula”时期）保存下来的1800多本音乐书籍中隐藏的信息，共同解决有关音乐传播和消费的问题。一种针对音乐书籍的新方法，对于一般书籍历史来说越来越重要，它为这个关键时期的音乐资源的所有权、传播和阅读等问题提供了一种全新的方法，然后导致对音乐素养及其在早期现代欧洲的作用的理解。PI的一系列文章和专著将坚定地将早期音乐书籍的研究从生产转向消费。除此之外，在一家领先的数字人文机构的支持下，我们将开发一个数据库，首先作为收集信息的方式，然后作为最终用户搜索音乐书籍所有权和使用情况的工具。在与来自书籍历史、音乐学和研究图书馆的顾问和同事协商后，为数据库开发了描述和编目音乐来源注释和标记的新分类法，它不仅为研究设定了新的标准，而且至关重要的是，它也为图书馆和收藏的使用设定了新的标准，这些标准远远超出了本项目所涵盖的时间和材料。

This project rewrites the history of the printed musical source from the perspective of its consumption - the owners and readers of music books. Operating in the intersection of musicology, book history (in particular, the history of reading) and bibliography, it offers new ways of assessing who owned music in early modern Europe and how they read it, bringing music into the discourse around early modern literacies.It does so by bringing together a team of specialists from different fields, led by the PI with a track record of working in both musicology and book history. Together they will address questions around the dissemination and consumption of music by using the information hidden in the more than 1800 surviving copies of music books from the crucial period of 1500-1545, the 'incunabula' period for music printing. A copy-specific methodology new to music books, which has become of increasing importance for general book history, provides an entirely novel approach to questions such as the ownership, dissemination and reading of music sources in this crucial period, then leading to an understanding of musical literacy and its role in early modern Europe.A series of articles and a monograph by the PI will firmly move the research of early music books away from production towards their consumption. Beyond that, supported by a leading digital humanities agency, we will develop a database, serving first as the way to collect information and later as a tool for end-users to search the ownership and use of music books. The new taxonomy of describing and cataloguing annotations and markings in musical sources, developed for the database in consultation with advisors and colleagues from book history, musicology and research libraries, will set a new standard not only for research, but crucially also for the use in libraries and collections much beyond the time period and material covered in this project.