In Paris, in 1535, a songbook was published that would have a long-lasting impact on the market for French printed songs without music notation. Most noteworthy is that this songbook was the first of its kind to demonstrate considerable overlap in repertoire selection between printed songs pertaining to a category of affordable, popular literature on the one hand, and contemporary music books on the other. It therefore offers a valuable gateway to investigate the interrelations between the early sixteenth-century markets for printed songbooks with and without music. 1 Song texts without music belonged to a category of print that is generally characterized by terms such as "popular" or "cheap." This category is hard to define, since it is not exclusively determined by specific characteristics such as content, audience, genre, or even price. Cheap or popular print was, for instance, not solely intended for a lower class clientele but was also enjoyed by the higher classes, and it included a broad range of themes and genres, including almanacs, calendars, newspapers, pamphlets, street songs, devotional books, primers, and many more. The material characteristics varied as well, and although usually affordable, some prints included elaborate illustrations and were not even cheap in the strictest sense. Additionally, it should be noted that the notion of popular print was not-or at least not in any systematic way-used as a separate category in the sixteenthcentury sources. Instead, it is a heuristic label applied to early printed books by modern scholars. Still, the existence of such a broad and diversified category of print is clearly recognizable across Europe, as has recently been underlined by numerous studies applying a transnational approach to early modern popular print culture. 2 [44.224.250.200] Project MUSE (2024-06-04 02:06 GMT)
This article discusses two important representatives of the manuscript culture of the Devotio Moderna in the late medieval eastern Low Countries (c. 1500): a vernacular devout song manuscript (Berlin, Staatsbibliothek zu Berlin—Preussischer Kulturbesitz mgo 185) and a Middle Dutch rapiarium or collection of various short religious texts (Zwolle, Historisch Centrum Overijssel, Collectie Emmanuelshuizen 13). Both religious multi-text codices, the material similarities between both types of manuscripts have frequently been pointed out but were never studied in detail. These particular manuscripts, however, offer fertile grounds for such a comparison, since both were in part copied by the same—probably female—scribes. Examining the nature and extent of their efforts and collaborations, this article further develops questions and arguments raised in previous scholarship on the production processes of song manuscripts and rapiaria.
This article examines the earliest example of a Dutch printed songbook without musical notation in oblong format: Een Schoon Liedekensboeck (Antwerp, 1544), commonly known as the Antwerp Songbook. Its oblong format was probably inspired by music books, even if the advantages attached to this format only partially applied to songbooks without scores and notes. Even so, the Antwerp Songbook’s typography and lay-out do facilitate performance of the songs to some degree. Additionally, unlike contemporary books in oblong, this songbook’s title page is rotated 90 degrees to portrait orientation. This article contends that this hybrid shape underlines the book’s hybrid function: it was a music book intended for those who cannot or have no inclination to read music. Similarly, Een devoot ende profitelijck boecxken (Antwerp, 1539) stands out for having a comparable hybrid shape: it combines elements of music books (such as notes and the oblong format) with elements of vernacular song tradition and a title page in portrait orientation.
Previous studies of radical thinkers have brought us few examples of female radicals from the Low Countries, even if the seventeenthcentury Dutch Republic was a hub for radical thought which offered a relatively female-friendly climate. In this article, we explore how new perspectives and modes of analysis, better adjusted to the restrictions and opportunities women experienced, make women's radical thought visible. By doing so, we aim to present a more balanced perspective on what might count as female radical thought in the early modern Low Countries (1500-1800). Starting from the notion of "agency," we analyze the life, work and relations of three Dutch authors, as well as representations of female radicalism in two literary works, in order to rebalance the notion of radicalism in a woman's world. Anna Bijns, Meynarda Verboom and Margaretha van Dijk were not radically disruptive in the sense of operating completely outside of male-dominated domains. Instead, they gained agency by negotiating their position in patriarchal knowledge systems and by bending conventions within male-dominated networks so that their voices could be heard. To understand these voices, it is necessary to disconnect "being radical" from "the amount of disruption caused" by female agency.
Authorial and Editorial RolesinSong Manuscripts of the Devotio ModernaThis essay sets out amodel which identifies eight distinctauthorial and editorial roles in the transformation of oral sermonstowritten collections in multi-text codices.This model is thena pplied to ad ifferent genre: collections of songs from the same background,t he Devotio Moderna. The main differencesand similarities between sermons and devotional songs are discussed in relation to the position of their authors, their generic characteristics and the needs of the manuscript users. The model turns out to be astrong heuristic tool for systematically reflecting on the genesisofmulti-text codices. It can be usedtocompare the mechanics of writing and collecting in variousgenres and cultural circles. IntroductionEvidence for successives tages in the creation and organisation of multi-text manuscripts often comes from codicological research. However, in some cases textual information is available;afruitful field of research is provided by collections of medieval Dutch sermons. Specifically, the sermon collections of the Augustinian convent of Our Lady of the Rose planted in Jericho (hereafter abbreviated to Jericho),aconvent located in Brussels, offer awealth of information about their genesis and the peoplei nvolved. The collections havee xtensive prologues and epilogues, in which the sisters,asmembers of the convent were called, explain in detail how several of them contributed to writingd own and editing the sermons delivered by their father confessor (Stoop 2007:276-80; 2011: 197-200; 2012)). On the basis of this material, Patricia Stoop (2013) has developed am odel which identifies multipled istinct phases in the production of these sermon collections. Thismodel offers an interesting startingpoint for research into song manuscripts originating from the same cultural background as the sermon collections: the Devotio Moderna, aspiritual reform movement with an emphasisonthe rejection of the world, asceticism and inner reform that domi- This essaypresents Stoop'smodel and discusses whether the mechanics of text collecting are similar for sermons and songs. Specific attention will be paid to the variousauthorial and editorial roles of the agents involved. Our premise is that by offering asystematic approach, this model will facilitate abetter understanding of the genesis of devotional song collections, and possibly of the genesis of multitext codices in general.Our corpus consists of twelvemulti-text manuscripts. Song is often the only, or certainly the most important genre, though sometimes small blank spaces are filled in with maxims -as is often the case in secular song manuscripts as well. Most codices transmitn ot onlyt he song texts, but also the melodies, by using musical notation or melody references, quotingt he first line of another, often secular, song with the samemelody (Van der Poel 2011:71-73). The number of songs varies from seventeen in asmall manuscript like the songbook of Marigen Remen (Leiden, Universiteitsbibliotheek, MS LT...
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