MUSIC BECOMES A BUSINESS
It was the spread of that kind of music-loving that supported the earliest music business—written music as a commodity possessing monetary exchange value. It is no accident that the very earliest printed publication containing polyphonic music was largely given over to textless chanson arrangements, including some of those on J’ay pris amours with which we are now familiar. It was brought out in 1501 by Ottaviano Petrucci, the same enterprising Venetian printer who the next year brought out the volume of Josquin Masses mentioned at the end of the chapter 12. Its highfalutin pseudo-Greeky title was Harmonice musices odhecaton A, which means, roughly, “A Hundred Pieces of Polyphonic Music, Vol. I.” Petrucci knew his market. The next year he issued his second volume of chamber music, called Canti B numero cinquanta (“Songs, vol. II, numbering fifty”), and in 1504 came Canti C numero cento cinquanta (“Songs, vol. III, numbering one hundred and fifty”), equal in size to the other two collections combined—proof positive of successful marketing.
- Citation (MLA):
- Richard Taruskin. "Chapter 13 Middle and Low." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 30 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 Middle and Low. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 30 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 Middle and Low." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 30 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013008.xml