Thomas East and Music Publishing in Renaissance England by Jeremy L. Smith

Thomas East and Music Publishing in Renaissance England by Jeremy L. Smith

By Jeremy L. Smith

Within the London of Shakespeare and William Byrd, Thomas East used to be the best, usually unique, printer of tune. As he tells the tale of this influential determine in early English track publishing, Jeremy Smith additionally deals a shiny total portrait of a bustling and aggressive undefined, during which composers, buyers, publishers, and tradesmen sparred for artistic keep watch over and monetary luck. It presents a really complete learn of tune publishing and a brand new approach of realizing where of musical tradition in Elizabethan occasions. furthermore, Smith has compiled the 1st whole chronology of East's tune prints, in response to either bibliographical and paper-based proof.

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68 It seems more likely, however, that the “bookes of Birdes and Tallis musicke” listed in Bynneman’s inventory were actually from the  Cantiones edition. Given the evidence in Byrd and Tallis’s letter to the queen and Barker’s report discussed earlier, it is understandable that so many copies of the first edition remained unsold even at that late date. Furthermore, there are no extant copies of another edition by Tallis and Byrd. 69 Thus it would appear that Eccles could have been wrong in his conjecture that Bynneman printed a new edition of music by these men.

Certainly the quality of the music and that of the printing were not to blame. 70 The quality of the production and content, however, was irrelevant to the work’s economic success in the London market for printed books. The composers fell victim rather to inadequate methods of distribution and a lack of public demand for the massproduced copies of their music. 71 This amount was certainly far more than the likely fees solicitors would charge to draft the text or scribes to copy it onto the patent rolls.

102 The international interests of composers were shared by music collectors. 105 In this passage from the inaugural edition of Englished madrigals in London, Yonge obliquely mentioned all three elements of the music patent. His comments also signaled a new appreciation of music that would be of particular benefit to the music patentee. ” But Yonge went on to describe, in detail, how he gathered together these Englished madrigals over a five-year period and diligently copied out the music and texts on music paper long before he had any designs to publish the collection.

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