A Companion to Venetian History, 1400-1797

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882 jonathan glixon


——, “Zorzi trombetta and the Band of piffari and trombones of the serenissima: new
Documentary evidence,” Historic Brass Society Journal 14 (2002), 59–82.
——, “Zorzi trombetta e il complesso di piffari e tromboni della serenissima: per una
storia ‘qualitativa’ della musical strumentale del XV secolo,” Studi musicali 31 (2002),
57–87.
Beck, Hermann, “Adrian willaerts Messen,” Archiv für Musikwissenschaft 17 (1960),
215–42.
——, “grundlagen des venezianischen stils bei Adrian willaert und cyprian de rore,”
in Jozef robijns, ed., Renaissance-Muzieck, 1400–1600: Dounum natalicum René Bernard
Lenaerts (louvain, 1969), pp. 39–50.
——, “probleme der venezianischen Messkomposition im 16. Jahrhundert,” in erich
schenk, ed., Bericht über den internationalen musikwissenschaftlichen Kongreß Wien
Mozartjahr 1956 (graz, 1958), pp. 35–40.
——, Die Venezianische Musikerschule im 16. Jahrhundert (wilhelmshaven, 1968).
Benvenuti, g., Andrea e Giovanni Gabrieli e la musica strumentale a San Marco (Milan,
1932).
Benzoni, gino, David Bryant, and Martin Morell, eds., Gli anni di Andrea Gabrieli: Biografia
e cronologia (Milan, 1989).
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1993).
Bernstein, Jane, “the Burning salamander: Assigning a printer to some sixteenth-century
Music prints,” Notes: Quarterly Journal of the Music Library Association 42 (1986), 483–
501.
——, “Financial Arrangements and the role of printer and composer in sixteenth-
century italian Music printing,” Acta musicologica 63 (1991), 39–56.
——, Music Printing in Renaissance Venice: The Scotto Press, 1539–1572 (new York, 1998).
——, Print Culture and Music in Sixteenth-Century Venice (new York, 2001).
Bisson, Massimo, “la collocazione degli organi nelle chiese veneziane del rinascimento:
implicazioni architettoniche, liturgiche, musicali e acustiche,” in Architettura e musica
nella Venezia del Rinascimento, ed. Jaynie Anderson, Deborah Howard, and laura
Moretti (Milan, 2006), pp. 297–322.
Blackburn, Bonnie J., “petrucci’s Venetian editor: petrus castellanus and His Musical
garden,” Musica Disciplina 49 (1995), 15–45.
Blazekovic, Zdravko, “what Marsyas May Have Meant to the cinquecento Venetians, or,
Andrea schiavone’s symbolism of Musical instruments,” Music in Art: International Jour-
nal for Music Iconography 26 (2001), 30–46.
Boorman, stanley, “the ‘First’ edition of the ‘odhecaton A,’ ” Journal of the American Musi-
cological Society 30 (1977), 183–207.
——, “the Music publisher’s View of his public’s Abilities and taste: Venice and Antwerp,”
Yearbook of the Alamire Foundation 2 (1997), 405–29.
——, Ottaviano Petrucci: Catalogue raisonné (new York, 2006).
Bossuyt, ignace, Adriaan Willaert (ca.1490–1562), Leven en werk, stil en genres (louvain,
1985).
Brown, Howard Mayer, “on gentile Bellini’s processione in san Marco (1496),” in
Daniel Heartz and Bonnie c. wade, eds., International Musicological Society: Report of
the Twelfth Congress, Berkeley 1977 (Kassel, 1981), pp. 649–58.
——, “women singers and women’s songs in Fifteenth-century italy,” in Jane Bowers and
Judith tick, eds., Women Making Music: The Western Art Tradition, 1150–1950 (urbana,
1986), pp. 62–89.
Bryant, David, “the cori spezzati of st. Mark’s: Myth and reality,” Early Music History 1
(1981), 165–86.
——, “liturgia e musica liturgica nella fenomenologia del ‘Mito di Venezia,’ ” in giovanni
Morelli, ed., Mitologie: Convivenze di musica e mitologia—Testi e studi (Venice, 1979),
pp. 205–14.

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