I know, that's what I'm saying, thanks Antonio! Newsidler's book of
1536 on page 2 is also a letter from the "king" giving him personally
the privileges, with threats of fines to those who try to copy. Half to
the king, and half to Neusiedler.The printer is mentioned at the end of
th
shes
Antonio
__
From: Alain Veylit [1]
To: Lutelist [2]
Sent: Wednesday, 21 February 2018, 11:30
Subject: [LUTE] Re: Francesco or da Crema
Privileges were granted to the printers, not the authors/composers, who
usually got none of the profits of
ject: [LUTE] Re: Francesco or da Crema
Privileges were granted to the printers, not the authors/composers, who
usually got none of the profits of sales. In fact copyright laws were
created because of this very fact, in the 18th century. Pirated copies
of course included the privilege pa
On 02/21/2018 02:39 AM, G. C. wrote:
-- Forwarded message --
From: G. C. <[1]kalei...@gmail.com>
Date: Wed, Feb 21, 2018 at 11:26 AM
Subject: Re: [LUTE] Re: Francesco or da Crema
To: Alain Veylit <[2]al...@musickshandmade.com>
When you read the
Additional reading:
'Print Culture and Music in Sixteenth-Century Venice' by Jane Bernstein,
published by Oxford University Press.
Best,
Matthew
On 21/02/2018 13:01, Ron Andrico wrote:
Daniel Heartz wrote a monograph on the role of Attaingnant as music
publisher, _Pierre Attaingnant Roy
Dear Ron,
look at the recently mentioned "Ein Newgeordent..." by Newsidler. It
says at the bottom of the introductory page:
Mit Roemischen Kaiser und Koeniglichen Majestaet, freyheit/ in funff
iaren nit nach zu drucken / begnadet.
What is this but a royally decreed copyright? And
-- Forwarded message --
From: G. C. <[1]kalei...@gmail.com>
Date: Wed, Feb 21, 2018 at 11:26 AM
Subject: Re: [LUTE] Re: Francesco or da Crema
To: Alain Veylit <[2]al...@musickshandmade.com>
When you read the foreword of old prints, there is often
If I remember correctly the first copyright law appeared in England ca.
1714. Pirated editions made the bread and butter of many printers before
then. But, it is only when copyrights were in force that authors started
to make a living out of their published works. Before that it was a
system of
I recall a conversation with Pat O'Brien about dC many years ago, and he
said there was a lot of plagiarism in his works.
RT
On 2/20/2018 3:45 AM, Martin Shepherd wrote:
Hi Leonard,
They could be derived from a common model, such as a recercar by
Giulio Segni (da Modena). A more explicit ca
Hi Leonard,
They could be derived from a common model, such as a recercar by Giulio
Segni (da Modena). A more explicit case of this is Ness 88, which is
very close to no.16 in DaCrema's 1548 book, where it is attributed to
Julio da Modena. It appears in Ness as Appendix 15. Julio Segni
(14
I've exaggerated: there are a number of differences, but I believe
the similarities outweigh them. Perhaps two different recercari based
on the same motif, sacred or otherwise?
Leonard
-Original Message-
From: Leonard Williams
To: Lute List
Sent: Mon, Feb 19,
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