{"id":32166,"date":"2014-01-10T11:13:23","date_gmt":"2014-01-10T09:13:23","guid":{"rendered":"https:\/\/www.cini.it\/?post_type=cini_events&#038;p=32166"},"modified":"2024-07-26T11:09:00","modified_gmt":"2024-07-26T09:09:00","slug":"music-printing-and-publishing-in-modern-italy-new-approaches-2","status":"publish","type":"cini_events","link":"https:\/\/www.cini.it\/en\/eventi\/music-printing-and-publishing-in-modern-italy-new-approaches-2\/","title":{"rendered":"Music Printing and Publishing in Modern Italy. New Approaches"},"content":{"rendered":"<p><strong>\u00a0M<\/strong><b>usic Printing and Publishing in Modern Italy \u2013 New Approaches<\/b><\/p>\n<p><b>\u00a0<\/b><b>International Workshop<\/b><\/p>\n<p><b>Venice, 13-14 February 2014<\/b><b><\/b><\/p>\n<p>Printed music is quantitatively the most important source for the study of European music of the sixteenth, seventeenth and eighteenth centuries. Since a significant part of the music editions printed before 1800 were produced in Italy, with a peak between the late sixteenth and early seventeenth century, there is a clear need to investigate this production from many points of view: production contexts, repertoire selection processes, marketing strategies, processes and canals of international dissemination and reception, transmission history of surviving editions, historiographical perspectives on these sources as tools for the study of musical phenomena of the past.<\/p>\n<p>&nbsp;<\/p>\n<p>The international workshop <b><i>Music Printing and Publishing in Modern Italy \u2013 New Approaches<\/i><\/b> has three main objectives:<\/p>\n<ul>\n<li>to discuss the latest results of recent research in the field of music printing and publishing in Italy before 1800.<\/li>\n<li>to encourage exchange of scholars working in this area and develop new research approaches and perspectives.<\/li>\n<li>to present and discuss some innovative research tools, as the new database <i>Printed Sacred Music in Europe 1500-1800<\/i>.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><b>Contacts<\/b><\/p>\n<p><b>\u00a0<\/b><\/p>\n<p><b>David Bryant<\/b> \u2013 david.bryant@unive.it<\/p>\n<p><i>Ca\u2019 Foscari University, Venice<\/i><\/p>\n<p><b>Luigi Collarile<\/b> \u2013 luigi.collarile@unifr.ch<\/p>\n<p><i>University of Fribourg \/<\/i> <i>Ca\u2019 Foscari University, Venice<\/i><\/p>\n<p><b>\u00a0<\/b><\/p>\n<p><b>\u00a0<\/b><\/p>\n<p><b>Organised by<\/b><\/p>\n<p><b>\u00a0<\/b><\/p>\n<p><b>University of Fribourg<\/b> \u2013 Switzerland<i> <\/i><\/p>\n<p><i>Institute of Musicology<\/i><\/p>\n<p><b>Ca\u2019 Foscari University, Venice<\/b> \u2013 Italy<\/p>\n<p><i>Department of Philosophy and Cultural Heritage<\/i><\/p>\n<p><b>Fondazione Giorgio Cini, Venice<\/b> \u2013 Italy<\/p>\n<p><i>Institute for Music<\/i><\/p>\n<p><b>Swiss Consulate in Venice <\/b>\u2013 Italy<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><b>Program<\/b><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><b>Thursday, 13 February 2014<\/b><\/p>\n<p>Swiss Consulate in Venice (Palazzo Trevisan)<i> \u00a0\u00a0 \u00a0<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>9.00h\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <b>Opening <\/b><\/p>\n<p>David Bryant, Luigi Collarile, Jacqueline Wolf, Gianmario Borio<\/p>\n<p>9.30h\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <b>Key Note<\/b><\/p>\n<p><i>Chair<\/i> \u2013 David Bryant<\/p>\n<p><i>Respondents<\/i> \u2013 Neil Harris, Luca Zoppelli<\/p>\n<p><b>\u00a0 Luigi Collarile<\/b> (University of Fribourg \u2013 Ca\u2019 Foscari University, Venice)<\/p>\n<p><i>Edizioni musicali italiane perdute. Nuove prospettive bibliografiche e storiografiche<\/i><\/p>\n<p>11.00h\u00a0 \u00a0\u00a0\u00a0\u00a0 <b>Study Session I<\/b><\/p>\n<p><i>\u00a0 Respondents<\/i> \u2013 Patrizio Barbieri, Iain Fenlon<\/p>\n<p><b>\u00a0 Bianca Maria Antolini <\/b>(Conservatorio di Perugia)<b><\/b><\/p>\n<p><i>Il \u00abDizionario degli editori musicali italiani\u00bb. Bilancio di una ricerca<\/i><\/p>\n<p><b> Rodolfo Baroncini <\/b>(Conservatorio di Adria)<i><\/i><\/p>\n<p><i>\u00abIn Merzaria\u00bb: l&#8217;officina Gardano e il contesto socio-antropologico delle contrade di San Salvador e San Zulian (Venezia, 1580-1610)<\/i><\/p>\n<p>15.00h\u00a0\u00a0 \u00a0\u00a0\u00a0 <b>Study Session II<\/b><\/p>\n<p><i>Chair<\/i> \u2013 Luigi Collarile<\/p>\n<p><i>Respondents<\/i> \u2013 Marco Di Pasquale, Rudolf Rasch<\/p>\n<p><b> Patrizio Barbieri <\/b>(Rome)<b><\/b><\/p>\n<p><i>Prime testimonianze sui librai musicali di area veneta a Roma: nuovi documenti, 1567-1569<\/i><\/p>\n<p><b>\u00a0\u00a0\u00a0\u00a0 Rebecca Edwards <\/b>(St. Martin\u2019s University, Washington)<b><\/b><\/p>\n<p><i>A Valuable Perspective on the Relationship between Musicians and Printers in 16th-Century Venice: the Case of Claudio Merulo<\/i><\/p>\n<p><b>Carrie Churnside<\/b> (Birmingham City University)<b><\/b><\/p>\n<p><i>Reflections upon Working on Italian Music Printing and Publishing in the Seventeenth- and Eighteenth-Centuries Italy<\/i><\/p>\n<p>17.00h\u00a0\u00a0 \u00a0 <b>Study Session III<\/b><\/p>\n<p><i>Respondents<\/i> \u2013 Rodolfo Baroncini, Rebecca Edwards<\/p>\n<p><b>Iain Fenlon<\/b> (King\u2019s College, Cambridge)<b><\/b><\/p>\n<p><i>Composers, Dedicatees and Publishers<\/i><\/p>\n<p><b>Marco Di Pasquale<\/b> (Conservatorio di Vicenza)<b><\/b><\/p>\n<p><i>Intorno alla pratica della dedica. Il caso dell\u2019Accademia Filarmonica di Verona<\/i><\/p>\n<hr \/>\n<p><b style=\"line-height: 1.4;\">Friday, 14 February 2014<\/b><\/p>\n<p>Fondazione Giorgio Cini (Island of S. Giorgio)<i> \u00a0 <\/i><i>Sala Barbantini<\/i><\/p>\n<p><span style=\"line-height: 1.4;\">9.00h\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><b style=\"line-height: 1.4;\">Study Session IV<\/b><\/p>\n<p><i>Chair<\/i> \u2013 David Bryant<\/p>\n<p><i>Respondents<\/i> \u2013 Bianca M. Antolini, Carrie Churnside<\/p>\n<p><b>Constance Frei<\/b> (University of Geneva)<\/p>\n<p><i>I primi tipografi musicali bolognesi<\/i><\/p>\n<p><b>Giulia Giovani<\/b> (Istituto Storico Germanico, Rome)<b><\/b><\/p>\n<p><i>Riflessioni sulla stamperia Silvani \u00aball&#8217;insegna del violino\u00bb<\/i><\/p>\n<p><b>Rudolf Rasch<\/b> (Utrecht University)<\/p>\n<p><i>Italian Engraved Music Editions before and after Corelli\u2019s Sonatas Opus 5 (1700)<\/i><\/p>\n<p>11.00h\u00a0\u00a0\u00a0\u00a0 <b>Study Session V<\/b><\/p>\n<p><i>Respondents<\/i> \u2013 Constance Frei, Giulia Giovani<\/p>\n<p><b>\u00a0\u00a0\u00a0\u00a0 Paolo Giorgi <\/b>(Bologna)<b><\/b><\/p>\n<p><i>Maurizio Cazzati (1616-1678) compositore e stampatore: un esempio di autoimprenditoria<\/i><\/p>\n<p><i>musicale seicentesca<\/i><\/p>\n<p><b>Daniele Torelli<\/b> (Libera Universit\u00e0 di Bolzano)<b><\/b><\/p>\n<p><i>L\u2019impronta dei piombi: il riconoscimento dei caratteri in edizioni musicali sconosciute<\/i><\/p>\n<p>15.00h\u00a0 \u00a0\u00a0 <b>Study Session VI<\/b><\/p>\n<p><i>Chair<\/i> \u2013 Luigi Collarile<\/p>\n<p><i>Respondents<\/i> \u2013 Neil Harris, Daniele Torelli<\/p>\n<p><b> Laurent Pugin<\/b> (RISM Switzerland)<\/p>\n<p><i>Aruspix \u2013 A Software Suite and its Applications <\/i><\/p>\n<p><b>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rodolfo Zitellini<\/b> (University of Fribourg \u2013 RISM Switzerland)<\/p>\n<p><i>Mapping Music Typefaces. Toward a Digital Catalogue<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>17.00h\u00a0 \u00a0 <b><i>Printed Sacred Music in Europe<\/i><\/b><\/p>\n<p><i>Chair<\/i> \u2013 Gianmario Borio (Fondazione Giorgio Cini)<\/p>\n<p><b>Key Note <\/b><\/p>\n<p><b> David Bryant<\/b>, <b>Elena Quaranta<\/b><\/p>\n<p>(Ca\u2019 Foscari University, Venice)<\/p>\n<p><i>How does Printing Reflect Patterns of Consumption in the Church Music of Sixteenth-<\/i><\/p>\n<p><i>and Seventeenth-Century Italy?<\/i><\/p>\n<p><i><\/i><b>Presentation of the New Database<\/b><\/p>\n<p><b> Luca Zoppelli<\/b> (University of Fribourg)<\/p>\n<p><i> with<\/i><i>\u00a0 <\/i>David Bryant, Luigi Collarile, Laurent Pugin, Elena Quaranta, Rodolfo Zitellini<\/p>\n","protected":false},"author":1,"featured_media":0,"template":"","meta":{"_acf_changed":false,"footnotes":""},"cini_tax_event_categories":[1465],"cini_tax_institutes":[21],"cini_tax_event_locations":[],"class_list":["post-32166","cini_events","type-cini_events","status-publish","hentry","cini_tax_event_categories-meetings","cini_tax_institutes-music-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Music Printing and Publishing in Modern Italy. New Approaches - Fondazione Giorgio Cini<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.cini.it\/en\/eventi\/music-printing-and-publishing-in-modern-italy-new-approaches-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Music Printing and Publishing in Modern Italy. New Approaches - Fondazione Giorgio Cini\" \/>\n<meta property=\"og:description\" content=\"\u00a0Music Printing and Publishing in Modern Italy \u2013 New Approaches \u00a0International Workshop Venice, 13-14 February 2014 Printed music is quantitatively the most important source for the study of European music of the sixteenth, seventeenth and eighteenth centuries. 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