- Title Pages
- Acknowledgments
- Preface
- Ottaviano Petrucci
- Introduction
- Chapter One Biography
- Chapter Two Petrucci's Privileges
- Chapter Three Petrucci's Materials
- Chapter Four Normal Printing-house Procedures
- Chapter Five Problems of Chronology: Editions and Impressions, Cancels and Sophisticated Copies
- Chapter Six Other Patterns of In-house Correction
- Chapter Seven The Non-musical Books
- Chapter Eight: Ideal Copy: Petrucci's View of the Book, Its Character, Function, and Destination
- Chapter Nine Petrucci's Repertoire and Its Sources
- Chapter Ten The Dissemination of Petrucci's Books and Repertoire
- Chapter Eleven Petrucci's Technical Legacy
- Chapter Twelve Coda: Early Music Printing as an Agent of Change
- Chapter Thirteen Checklist of Petrucci's Publications, in Chronological Order
- Chapter Fourteen Ghosts: Books and Editions Falsely Attributed to Petrucci
- Chapter Fifteen Petrucci's Type, Initial Letters, and Watermarks
- Chapter Sixteen Bibliographical Concepts and Terminology
- Chapter Seventeen Bibliographical Descriptions
- Chapter Eighteen Concordance Lists for All Petrucci's Musical Output
- Chapter Nineteen Concordant Sources
- Chapter Twenty Documents
- Bibliography
- Index of Libraries Holding Copies of Petrucci's Editions
- Index of Editions
- General Index
Normal Printing-house Procedures
Normal Printing-house Procedures
- Chapter:
- (p.149) Chapter Four Normal Printing-house Procedures
- Source:
- Ottaviano Petrucci
- Author(s):
Stanley Boorman
- Publisher:
- Oxford University Press
This chapter is concerned almost exclusively with the music books printed by Ottaviano Petrucci. The three books discussed here that have survived with his name attached (those of which, this book argues, represent the whole of his non-musical output) are in their own way more typical of the period in which they were printed. The great majority of the musical books of the time present to the reader a largely consistent outward appearance. They are oblong, in landscape format, normally about 165 x 236 mm in size, with six staves to a full page (although frequently fewer are present), printed with an elegant musical typeface, and with ornate initial letters for almost every composition or mass movement. Each has a title page that conforms to the new practice, prevalent since late in the previous century, of giving in simple form the contents of the book, and sometimes the name of its author.
Keywords: music, books, Ottaviano Petrucci, format, typeface, printing
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- Title Pages
- Acknowledgments
- Preface
- Ottaviano Petrucci
- Introduction
- Chapter One Biography
- Chapter Two Petrucci's Privileges
- Chapter Three Petrucci's Materials
- Chapter Four Normal Printing-house Procedures
- Chapter Five Problems of Chronology: Editions and Impressions, Cancels and Sophisticated Copies
- Chapter Six Other Patterns of In-house Correction
- Chapter Seven The Non-musical Books
- Chapter Eight: Ideal Copy: Petrucci's View of the Book, Its Character, Function, and Destination
- Chapter Nine Petrucci's Repertoire and Its Sources
- Chapter Ten The Dissemination of Petrucci's Books and Repertoire
- Chapter Eleven Petrucci's Technical Legacy
- Chapter Twelve Coda: Early Music Printing as an Agent of Change
- Chapter Thirteen Checklist of Petrucci's Publications, in Chronological Order
- Chapter Fourteen Ghosts: Books and Editions Falsely Attributed to Petrucci
- Chapter Fifteen Petrucci's Type, Initial Letters, and Watermarks
- Chapter Sixteen Bibliographical Concepts and Terminology
- Chapter Seventeen Bibliographical Descriptions
- Chapter Eighteen Concordance Lists for All Petrucci's Musical Output
- Chapter Nineteen Concordant Sources
- Chapter Twenty Documents
- Bibliography
- Index of Libraries Holding Copies of Petrucci's Editions
- Index of Editions
- General Index