- 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
Problems of Chronology: Editions and Impressions, Cancels and Sophisticated Copies
Problems of Chronology: Editions and Impressions, Cancels and Sophisticated Copies
- Chapter:
- (p.187) Chapter Five Problems of Chronology: Editions and Impressions, Cancels and Sophisticated Copies
- Source:
- Ottaviano Petrucci
- Author(s):
Stanley Boorman
- Publisher:
- Oxford University Press
This chapter offers a complex bibliographical history of Ottaviano Petrucci's work. It seeks to bring a semblance of order to the chaos. It presents the evidence for detecting “hidden” editions, impressions of parts of a book, and cancel leaves and sheets. It also demonstrates the possibilities that exist for arranging these (often newly reported) printings in chronological order. The simplest means of detecting new editions or impressions is to compare each page of every copy of a title with the same page of every other copy. Petrucci was unable to keep type standing after he had seen a forme through the press. The type was needed for the pages that were to be set up next. Therefore, each new printing must have been started from scratch, and every detail of the text would have been set up again.
Keywords: Ottaviano Petrucci, new editions, impressions, book, cancel leaves, 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