At 11:26 AM +0000 1/30/06, Owain Sutton wrote:
John Howell wrote:
At 10:53 AM +0000 1/29/06, Owain Sutton wrote:

Some good points, perhaps, although I think you need a bit more evidence before making such claims about Dufay or Josquin with such certainty!

In DuFay's lifetime the popularity of one's music can be measured by the number of manuscripts containing that music, and his is in lots of them. And Ottaviano Petrucci in Venice was one of the first printers of polyphonic music, a successful businessman, and therefore a shrewd judge of his own marketplace, and he chose to print and publish much of Josquin's sacred music.


The survival in manuscripts can be used as an *indicator* of such popularity, but it most certainly does not tell us about the reasons composers wrote the music they did. And survival in, for example, the Trent Codices tells us nothing at all about how frequently or widely the music was heard or performed.

Quite correct, but somewhat irrelevant. There was no ASCAP tracking performances, and no Billboard Manuscript listing the Top 40 or Hot 100. The essence of historical musicology is to try to learn what CAN be known and extrapolate from that. There's a scholar at one of the California universities, who is a DuFay expert and can tell you all about his waffle iron!!!

Petrucci was a shrewd (or very lucky) businessman. But, we do not know who he sold books to, or even how many he sold. And it's most likely that he chose pre-existing music which he knew would sell well, and therefore is irrelevant in the context of how composers work.

Which I think was my point. He knew or judged that Josquin would sell, and it did. And who bought the books would be very nice to know, but just the fact that they sold suggests (IMHO) that they sold to people who fully intended to perform the music. But I don't recall that this thread was about "how composers work" (my apologies if my memory is faulty), just whether they wrote what people enjoyed hearing.

John


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