Fabrice Fitch - Renaissance Polyphony (Cambridge Introductions to Music)

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To my students at Durham University (19942009) and the Royal Northern College of Music (20092018), especially L. M. I., J. A. H., and L. K. T. (F.)

Given how long this book has been in preparation, my first thanks must go to its prime mover, Victoria Cooper, who commissioned it; Kate Brett, her successor at Cambridge University Press; and their assistant, Eilidh Burrett, all of whom have shown me boundless kindness and patience. I hope that what follows fulfils Vickys long-expressed wish to see in print the book she would like to have read as a student. Professor Barbara Kelly was instrumental in securing a period of research leave from the Royal Northern College of Music, without which the final campaign of work would not have begun, and the Research and Knowledge Exchange Department of the Royal Conservatoire of Scotland brought about the material circumstances that enabled its completion, as well as providing financial assistance.

I thank colleagues and publishers who have granted permission for their editions to appear as supporting materials on Cambridge University Presss website: Jane A. Bernstein, Adam Knight Gilbert, Scott Metcalfe, Mariacarmen Gmez Muntan, the late Alejandro Enrique Planchart, University of Chicago Press, Institut Valenci de Msica, BREPOLS, A-R Editions, and the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis. Anna Maria Busse Berger, Iain Fenlon, Richard Freedman, Jesse Rodin, and Richard Wistreich generously helped in the compilation of the bibliography. For other practical advice and support I am indebted to Simon Clarke, Roger Mathew Grant (who kindly set and allowed me to reproduce ), Ann Kelders, Jesse Rodin, and Stephen Broad. I thank Paul Archbold, my former colleague at Durham University, for his painstaking work in setting the musical examples, with financial support from the Music & Letters Trust (Oxford University Press), which I gratefully acknowledge. Last but not least, I thank my copy-editor, Kilmeny MacBride, who steered the text through its final stages expertly and with unfailing good humour, and Bonnie J. Blackburn for her eagle-eyed reading of the proofs, compilation of the index, and generous advice.

This book bears the traces of countless discussions and convivial exchanges with friends and colleagues alongside whom I have grown up (or, at any rate, grown older), in particular Jane Alden; Sean Gallagher; Andrew Kirkman; and the late Philip Weller (19582018), who is much missed by so many; all of whom have helped shape and sharpen my thinking about music of all kinds. Specific chapters draw on the work of Philippe Canguilhem, Ruth DeFord, Warwick Edwards, and Katelijne Schiltz. Warwick Edwards, David Fallows, Alastair Harper, and Martin Iddon read the entire typescript, and Ruth DeFord, Lois Fitch, Stefano Mengozzi, Scott Metcalfe, and Keith Polk read individual chapters, making valuable suggestions and sparing me innumerable blushes. I also thank the organizers of conferences I attended while writing this book, for providing creative stimulation and much-needed respite from a hermitic existence: Andrea Lindmayr-Brandl, Paul Kolb, Agnese Pavanello, Klaus Pietschmann, Immanuel Ott, Wolfgang Fuhrmann, Joo Pedro dAlvarenga, Bart Demuyt, David Burn, Christiane Wiesenfeldt, Stratton Bull, Klaartje Proesmans, Jesse Rodin, and Emily Zazulia.

Finally, my debt to David Fallows remains incalculable, as also the support over many years of Jaap van Benthem, Warwick Edwards, and Brian Ferneyhough. Above all, I thank my family, especially my wife, Lois, and our daughter, Livia Alinor, without whose love and support in especially challenging times, I could not have seen this project through.