Kate van Orden - Materialities

SERIES EDITOR

SERIES BOARD MEMBERS:

Jane F. Fulcher

Celia Applegate

Philip Bohlman

Kate van Orden

Michael P. Steinberg

Enlightenment Orpheus: The Power of
Music in Other Worlds
Vanessa Agnew

Voice Lessons: French Mlodie in the
Belle Epoque
Katherine Bergeron

Songs, Scribes, and Societies:
The History and Reception of the
Loire Valley Chansonniers
Jane Alden

Harmony and Discord: Music and
the Transformation of Russian
Cultural Life
Lynn M. Sargeant

Musical Renderings of the
Philippine Nation
Christi-Anne Castro

The Sense of Sound: Musical Meaning
in France, 12601330
Emma Dillon

Staging the French Revolution:
Cultural Politics and the Paris Opera,
17891794
Mark Darlow

Music, Piety, and Propaganda:
The Soundscapes of Counter-Reformation
Bavaria
Alexander J. Fisher

The Politics of Appropriation:
German Romantic Music and the
Ancient Greek Legacy
Jason Geary

Defining Deutschtum: Political
Ideology, German Identity, and
Music-Critical Discourse in
Liberal Vienna
David Brodbeck

Materialities: Books, Readers, and the
Chanson in Sixteenth-Century Europe
Kate van Orden

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Library of Congress Cataloging-in-Publication Data
van Orden, Kate.
Materialities: books, readers, and the chanson in 16th-c. Europe/Kate van Orden.pages cm.(New cultural history of music series)
Includes bibliographical references and index.
ISBN9780199360642
eISBN 9780190273149
1. Music publishingEuropeHistory16th century 2.SongbooksEurope16th centuryHistory and criticism.I.Title.
ML112.V34 2014
070.579409409031dc23
2014028992

This volume is published with the generous support of the Margarita M. Hanson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

To Grandma Van for teaching me my ABCs,
Diane McVey for teaching me my notes and rests,
and the folks at Eble Music Co. in Iowa City, Iowa
for always knowing what I needed for my next lesson,
even when all I could remember was its called sonata.

Explain all that, said the Mock Turtle.
No, no! the adventures first, said the Gryphon in an impatient tone; explanations take such a dreadful time.

Lewis Carroll, Alices Adventures in Wonderland(The Lobster Quadrille)

A SLEW OF ADVENTURES play into this book, and before the explanations begin, I must thank the institutions that supported my travels and the friends, colleagues, librarians, students, and teachers who conspired to make the research so addictive.

The White Rabbit that led me to Materialities was my dissertation on the French chanson, and the influence of my advisors at the University of Chicago has remained remarkably persistent: Howard Mayer Brown contributed respect for ephemera and popular song, Martha Feldman the framing concept of print cultures, Philip Gossett a sophisticated notion of textual criticism, and Philippe Desan a strongly economic perspective. My plunge into the Wonderland of book history also came during those Chicago years, in two transformative seminars, one taught by Feldman and the second by Roger Chartier. Feldman subsequently suggested that I edit a volume of essays, Music and the Cultures of Print (2000), and Chartier contributed an afterword to the collection, for which I am extremely grateful.

In 2003, the Centre National de la Recherche Scientifique granted me a Studium Fellowship that became my laissez-passer to explore troves of books in French libraries. It also landed me in the magic kingdom of the Centre dtudes Suprieures de la Renaissance in Tours, France, under the direction of Philippe Vendrix. When I imagine Alices looking-glass, it is the magnificent mirror over the fireplace in the office I shared for two life-changing years at the CESR. The intellectual environment at the Center proved thoroughly energizing, and Tours was a launching point for valuable ongoing exchanges with a host of wonderful characters: Pascal Brioist, Philippe Canguilhem, Marie-Alexis Colin, Marc Desmet, Frank Dobbins, Thierry Favier, David Fiala, John Griffiths, Nicoletta Guidobaldi, Laurent Guillo, Isabelle His, Thodora Psychoyou, Philippe Vendrix, and, later, Xavier Bisaro. Tours also provided a meeting place for the group that came together in 2005 for the session Music and the History of the Book in Manuscript and Print at the 30th Annual Conference on Medieval and Renaissance Music, at which Elizabeth Eva Leach, Emma Dillon, Jane Alden, Henri Vanhulst, and Iain Fenlon all kindly agreed to speak. On this side of the Atlantic, I am deeply grateful to Jane Bernstein, Anthony Newcomb, and Jessie Ann Owens for contributing blockbuster papers to the session Print Culture in the Renaissance at the Sixty-Ninth Annual Meeting of the American Musicological Society in Houston, TX in 2003, and to all the authors who wrote field-defining essays for Music and the Cultures of Print in 2000: Tim Carter, Katherine Bergeron, Thomas Christensen, Robert R. Holzer, James Haar, Martha Feldman, Thomas Bauman, Lisa Perella, and Roger Chartier. In these forums we first shared many of the methodologies employed here, and my debts will be evident. Nearer to publication, in 2014 Jennifer Richards and Richard Wistreich drew me into their AHRC research network project on reading, Voices and Books, 15001800, which brought a number of matters into sharp focus as this book went to press.

Portions of first appeared in the article Childrens Voices: Singing and Literacy in Sixteenth-Century France, Early Music History 25 (2006): 20956, Cambridge University Press, reprinted with permission. I am grateful to Iain Fenlon for first seeing that work into print.