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Music Printing in Nuremberg During t...

Gabay, Matthew T.,

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Music Printing in Nuremberg During the Long Seventeenth Century: The Endter Printing Dynasty /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music Printing in Nuremberg During the Long Seventeenth Century: The Endter Printing Dynasty // Matthew T Gabay.
作者:	Gabay, Matthew T.,
面頁冊數:	1 electronic resource (402 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-11, Section: A.
Contained By:	Dissertations Abstracts International86-11A.
標題:	Music history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=32001928
ISBN:	9798315759539

Music Printing in Nuremberg During the Long Seventeenth Century: The Endter Printing Dynasty /
Gabay, Matthew T.,

Music Printing in Nuremberg During the Long Seventeenth Century: The Endter Printing Dynasty /Matthew T Gabay. - 1 electronic resource (402 pages)

Source: Dissertations Abstracts International, Volume: 86-11, Section: A.

The Endter family of Nuremberg printed and published thousands of works from the late sixteenth century to the mid-eighteenth century. Their fame largely rests with their publication of Bibles, but the family also issued no fewer than 168 music prints between 1599 and 1731, comprising hymnbooks, occasional prints (Gelegenheitsschriften), vocal collections, instrumental collections, and treatises. In addition to producing works of the city's major seventeenth-century church composers, including Johann Pachelbel (1653-1706), the Endters also printed and/or published the works of other notable composers, such as Melchior Franck (1579-1639), Johann Heinrich Schmelzer (ca. 1620/23-1680), Heinrich Ignaz Franz von Biber (1644-1704), Johann Philipp Krieger (1649-1725), Johann Krieger (1652-1735), Philipp Heinrich Erlebach (1657-1714), and Franz Xaver Murschhauser (1663-1738). This study provides the first comprehensive account of the Endters as printers and publishers of music. Through archival, bibliographical, quantitative, case study, and comparative approaches, this dissertation offers a full catalogue of the Endters' music prints, a chronology of the family's engagement in the music trade, and analysis of specific exemplars. Chapter One provides the requisite historical context and description of sixteenth-century Nuremberg to understand the urban and imperial environment when the Endters began their book printing and publishing activities. Chapter Two explores the biographies of the key Endter family members involved in the printing and publishing operation from the 1580s to the 1750s and investigates the business structure of the firm, business relationships, and finances; it also presents an overview of the breadth of the Endter printing output of books and music. Chapter Three, in conjunction with the tables in the appendices, catalogues the music prints and includes quantitative analyses of the chronology and genres of the printed material. The chapter also examines the composers represented in the prints and their relationships to one another and to the Endters. Chapters Four through Seven present four case studies of print exemplars which explore different aspects of the Endters' music printing program, specifically Gelegenheitsschriften, anthologies, and keyboard works. Chapter Six also includes an examination of the technical benefits and challenges of music printing via the letterpress. Overall, the dissertation answers the questions of why the Endters were viable options for composers, which composers had their works produced by the family, and what types of music came from the Endters' shops. This research and analysis provide a secure foundation of knowledge from which to understand the music printing market of seventeenth-century Nuremberg and to construct expanded musicological studies on the Endters, the composers in their catalogue, their competitors, and other aspects of German print music culture.

English

ISBN: 9798315759539Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Endters

Music Printing in Nuremberg During the Long Seventeenth Century: The Endter Printing Dynasty /
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520 $a The Endter family of Nuremberg printed and published thousands of works from the late sixteenth century to the mid-eighteenth century. Their fame largely rests with their publication of Bibles, but the family also issued no fewer than 168 music prints between 1599 and 1731, comprising hymnbooks, occasional prints (Gelegenheitsschriften), vocal collections, instrumental collections, and treatises. In addition to producing works of the city's major seventeenth-century church composers, including Johann Pachelbel (1653-1706), the Endters also printed and/or published the works of other notable composers, such as Melchior Franck (1579-1639), Johann Heinrich Schmelzer (ca. 1620/23-1680), Heinrich Ignaz Franz von Biber (1644-1704), Johann Philipp Krieger (1649-1725), Johann Krieger (1652-1735), Philipp Heinrich Erlebach (1657-1714), and Franz Xaver Murschhauser (1663-1738). This study provides the first comprehensive account of the Endters as printers and publishers of music. Through archival, bibliographical, quantitative, case study, and comparative approaches, this dissertation offers a full catalogue of the Endters' music prints, a chronology of the family's engagement in the music trade, and analysis of specific exemplars. Chapter One provides the requisite historical context and description of sixteenth-century Nuremberg to understand the urban and imperial environment when the Endters began their book printing and publishing activities. Chapter Two explores the biographies of the key Endter family members involved in the printing and publishing operation from the 1580s to the 1750s and investigates the business structure of the firm, business relationships, and finances; it also presents an overview of the breadth of the Endter printing output of books and music. Chapter Three, in conjunction with the tables in the appendices, catalogues the music prints and includes quantitative analyses of the chronology and genres of the printed material. The chapter also examines the composers represented in the prints and their relationships to one another and to the Endters. Chapters Four through Seven present four case studies of print exemplars which explore different aspects of the Endters' music printing program, specifically Gelegenheitsschriften, anthologies, and keyboard works. Chapter Six also includes an examination of the technical benefits and challenges of music printing via the letterpress. Overall, the dissertation answers the questions of why the Endters were viable options for composers, which composers had their works produced by the family, and what types of music came from the Endters' shops. This research and analysis provide a secure foundation of knowledge from which to understand the music printing market of seventeenth-century Nuremberg and to construct expanded musicological studies on the Endters, the composers in their catalogue, their competitors, and other aspects of German print music culture.
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