Giulio Cesare Brancaccio and secular solo bass singing in sixteenth century Italy

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New paradigms in material aspects of scholarship on musics of early modern Europe

Since the late nineteenth century, music-related materials have been the subject of specialist study and collecting. Areas of investigation have included musical instruments, the physicality of notated music, iconography, the corporeality of performance, and the spaces and places of musicking. Paradigms of text- and practice-based forms of research in these fields have constantly evolved, requiring the collaboration with museums, archives, libraries, scholars, makers, conservators and performers. In recent decades, the way that materiality is thought about and experienced in early modern musics of Europe has undergone a profound transformation in light of broader disciplinary and interdisciplinary shifts that happened both within and outside musicology, such as historically informed performance and the material culture turn in art history and cultural studies. However, the major advances in methodology developed over the past three decades in other areas have not yet been systematically absorbed by music research, and music arguably remains a marginal area of attention in the broader debate on the materials of culture. This roundtable aims at comparing disciplinary perspectives and opening a discussion, based on a range of examples, about how individual and institutional collaboration can lead to a paradigmatic change in the understanding of music history and criticism based on materiality. The presenters ¿ Kate van Orden, Katie Bank, Tim Shephard, Gabriele Rossi Rognoni, Richard Wistreich, and David R. M. Irving ¿ are scholars of early modern musics of Europe who have engaged with materiality from multiple perspectives and with diverse methodological approaches, drawing inspiration from performance, philology, art history, museology, and other fields. Title of contribution by David Irving: "Instruments, Materiality, and Globality: The Case of Bois de la Chine

The Museum of Renaissance Music: A History in 100 Exhibits

This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts—materials, tools, instruments, art objects, images, texts, and spaces—and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings—not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music’s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field