Articles

A bibliography compiled by Vicente Parrilla, 2024

Agee, Richard J. (1983). “Filippo Strozzi and the Early Madrigal.” Journal of the American Musicological Society, vol. 38, no. 2, pp. 227–237.

Agee, Richard J. (1983). “Ruberto Strozzi and the Early Madrigal.” Journal of the American Musicological Society, vol. 36, no. 1, pp. 1–17.

Agee, Richard J. (1983). “The Venetian Privilege and Music-Printing in the Sixteenth Century.” Early Music History, vol. 3, pp. 1–42.

Atalaia, Nuno and Tímea Nagy (2023). “The Italian Imitative and Interdisciplinary Musical Ethos of the Sixteenth Century: Ganassi’s La Fontegara.” In Music Performance Encounters. Collaborations and Confrontations, John Koslovsky and Michiel Schuijer (eds.), Routledge, 2023. ISBN 9781003295785

Blackburn, Bonnie J. (2010). “‘Il magnifico Sigismondo Maler Thedescho’ and his Family: the Venetian connection.” THE LUTE. The Journal of The Lute Society. Volume L, 2010, pp. 60–82: 60. Available at https://www.lutesociety.org/uploads/journal/ejournal/the-lute-50-fye4kdqw/the-lute.pdf. Also available at https://prrll.com/smaler.

Blackburn, Bonnie J. (2012). “Myself when Young: Becoming a Musician in Renaissance Italy—or Not,” Proceedings of the British Academy 181, pp. 169–203.

Blackburn, Bonnie J. (2018). “Instrumentalists and Instrument Makers before c. 1550.” In: Schiltz, Katelijne [ed.]. A Companion to Music in Sixteenth-Century Venice. Leiden/Boston: Brill, pp. 272–201.

Brown, Adrian (2006). “The Ganassi Recorder: Separating Fact from Fiction.” American Recorder 47, no. 5, November 2006, pp. 11–18. Published earlier in German as “Die ‘Ganassiflöte’—Tatsachen und Legenden,” Tibia 30, no. 4 (2005), pp. 571–84.

Brown, Howard Mayer (1995). “The recorder in the Middle Ages and the Renaissance.” In: Thomson, John Mansfield; Rowland-Jones, Anthony [eds.]. The Cambridge Companion to the Recorder. Cambridge: Cambridge University Press, 1995, pp. 1–25. ISBN 0-521-35816-7.

Bryant, David; Quaranta, Elena (2016). “Traditions and Practices in Sacred Polyphony.” In: Bucciarelli, Melania; Joncus, Berta. Music as social and cultural practice: essays in honour of Reinhard Strohm. Woodbridge, Suffolk: Boydell Press. ISBN 978-1-84383-317-8, pp. 105–118.

Couto Soares, Pedro (2021). “Tongue articulation on the Recorder: An interpretation of Ganassi’s ‘Lingua laquale nõ proferisse sillaba niuna’”. ÍMPAR, Online journal for artistic research in music Vol. 5 n. 1, pp. 34–47. ISSN 2184-1993.

da Col, Paolo (1999). “The Tradition and Science: The Istitutioni harmoniche of Gioseffo Zarlino.” Introduction to the facsimile edition of Gioseffo Zarlino, Le istitutioni harmonice (Venezia, 1561). Bibliotheca Musica Bononiensis II, 39, Bologna: Arnaldo Forni, pp. 35–55. Accessed via Collins Judd, Cristle [ed.]. (2016). Musical Theory in the Renaissance. London/New York: Routledge, pp. 373–393. ISBN 9781409422976.

Di Pasquale, Marco (2020). “Silvestro Ganassi: a documented biography.” Recercare XXXI/1-2 2019, pp. 29–102. ISBN 9788855430319.

Fenlon, Iain (1993). “St. Mark’s before Willaert.” Early Music, vol. 21, no. 4, pp. 546–548, 552, 554–558, 560–563

Fiabane, Armando (1981). “Contributi alla conoscenza del cornetto.” In: Heinrich Schütz e il suo tempo. Atti del I Convegno Internazionale di Studi (Urbino, 29-31 luglio 1978). A cura di Giancarlo Rostirolla. Roma: Società Italiana del Flauto Dolce, pp. 329–340.

Form, Michael (2002). “A Compass Through the Ganassi Jungle.” Cinnamon Sticks 3, no. 1, May 2002, pp. 6–11. In: Griscom, Richard; Lasocki, David (2012). The recorder: A Research and Information Guide. Third edition. New York: Routledge, p. 298.

Forney, Kristine K. (1999). “A Gift of Madrigals and Chansons: The Winchester Part Books and the Courtship of Elizabeth I by Erik XIV of Sweden.” The Journal of Musicology 17, no. 1, pp. 50–75.

Gammie, Ian (1978-79). “Ganassi: Regola Rubertina (1542). Lettione Secunda (1543). A Synopsis of the Text relating to the Viol.” Journal of the Viola da Gamba Society of America 8, pp. 23–30.

Gétreau, Florence (2003). “Un portrait énigmatique de l’ancienne collection Henry Prunières.” Musique-Images-Instruments. Revue française d'organologie et d'iconographie musicale, CNRS Editions, 2003, vol. 5, pp. 149–157.

Glixon, Jonathan (1983). “A Musicians’ Union in Sixteenth-Century Venice.” Journal of the American Musicological Society, vol. 36, no. 3 (autumn, 1983), pp. 392–421.

Glixon, Jonathan (2018). “Music at Parish, Monastic, and Nunnery Churches and at Confraternities.” In: Schiltz, Katelijne [ed.] (2018). A Companion to Music in Sixteenth-Century Venice. Leiden/Boston: Brill. ISBN 978-90-04-35829-4, pp. 45–78.

Haar, James (1970). “The “Libraria” of Antonfrancesco Doni.” Musica Disciplina, vol. 24, pp 101–123.

Haar, James (1988). “Cosimo Bartoli on Music.” Early Music History, vol. 8, pp 37–79.

Heyghen, Peter van (1995). “The recorder in Italian music, 1600-1670.” In: Lasocki, David [ed.]. The Recorder in the 17th Century. Utrecht: STIMU, Foundation for Historical Performance Practice, pp. 3–64.

Heyghen, Peter van (2005). “The recorder consort in the sixteenth century: dealing with the embarrassment of riches.” In: Lasocki, David [ed.]. Musicque de joye: proceedings of the International Symposium on the Renaissance Flute and Recorder Consort. Utrecht: STIMU, Foundation for Historical Performance Practice, pp. 227–321.

Howard, Deborah (2012). “The Role of Music in the Venetian Home in the Cinquecento.” In: Howard, Deborah; Moretti, Laura [eds]. The Music Room in Early Modern France and Italy, Oxford and New York 2012 (Proceedings of the British Academy 176), pp. 95–114.

Kilbey, Maggie (formerly Lyndon–Jones) (1996). “More Thoughts on the Bassanos.” FoMRHI Quarterly no. 83, pp. 23–30. (April 1996): 18–28 (Communication no. 1428).

Kirnbauer, Martin (2012). “Armando Fiabanes lettera su Ganassi.” Glareana, 61/2, pp. 40–54.

Kirnbauer, Martin (2018). “Ganassi im Kontext – Bemerkungen zur Biographie von Silvestro Ganassi und seinem musikalischen Umfeld.” In: Drescher, Thomas and Kirnbauer, Martin [eds.]. Basler Jahrbuch für Historische Musikpraxis, 35/36, 2011/2012. Wintenthur: Amadeus Verlag, pp. 203–216.

Kurtzman, Jeffrey (2018). “Instruments, Instrument Makers, and Instrumentalists in the Second Half of the Sixteenth Century.” In: Schiltz, Katelijne [ed.]. A Companion to Music in Sixteenth-Century Venice. Leiden/Boston: Brill, pp. 292–320.

Lasocki, David (1995). “Instruction books and methods for the recorder from around 1500 to the present day.” In Thomson, John Mansfield; Rowland-Jones, Anthony [eds.] (1995). The Cambridge Companion to the Recorder. Cambridge: Cambridge University Press, 1995, pp. 119–136. ISBN 0-521-35816-7.

Lasocki, David (2004). “Renaissance Recorder Players.” American Recorder 45, no. 2, pp. 8–23.

Lo Cicero, Dario (1984/2003). “Ganassi e “un certo ordine di procedere” che... si può scrivere.” In: Salvatore, Daniele. L’arte opportuna al sonar di flauto. Savignano sul Rubicone: Gruppo Editoriale Eridania, p. 216–226. Originally published in Il flauto dolce 10–11 (January–June 1984): 3–8.

Lo Presti, Carlo (2003). “La musica strumentale per fiati nella Venezia del Cinquecento.” In: Salvatore, Daniele. L’arte opportuna al sonar di flauto. Savignano sul Rubicone: Gruppo Editoriale Eridania, p. 1–6.

Ludwig Gustav, (1903). “Neue Funde im Staatsarchiv zu Venedig.” Jahrbuch der Königlich Preussischen Kunstsammlung, 24, Beiheft, pp. 110–18.

McGee, Timothy J. (2000). “Giovanni Cellini, Piffero of Florence,” Historic Brass Society Journal 12, pp. 210–225.

Ongaro, Giulio M. (1994). “Gli inizi della musica strumentale a San Marco.” In: Passadore Francesco; Rossi Franco [eds.]. Giovanni Legrenzi e la Cappella Ducale di San Marco. Atti dei convegni internazionali di studi, Venezia, 24-26 maggio 1990; Clusone, 14-16 settembre 1990. Firenze: Olschki (Quaderni della Rivista italiana di musicologia 29), pp. 215–226: 216 and fn. 5.

Ongaro, Giulio M. (1988). “Sixteenth-Century Patronage at St Mark's.” Early Music History vol. 8, pp. 81–115.

Ongaro, Giulio M. (2006). “Italy, i: 1520–1560.” In Haar, James [ed.] (2006). European Music 1520–1640. Woodbridge: The Boydell Press. ISBN 978-1-84383-894-4, pp. 58–74.

Ongaro, Giulio M. (2018). “San Marco.” In: Schiltz, Katelijne [ed.]. A Companion to Music in Sixteenth-Century Venice. Leiden/Boston: Brill, pp. 19–44.

Orme, Anita (2002). “Combining Southern Indian Technique with Western Music.” Cinnamon Sticks 3, no. 1, May 2002, pp. 14–18. In: Griscom, Richard; Lasocki, David (2012). The recorder: A Research and Information Guide. Third edition, pp. 391–392: 391. New York: Routledge.

Polk, Keith (1991). Il Concerto Palatino della Signoria di Bologna: cinque secoli di vita musicali a corte (1250-1797) by Osvaldo Gambassi (review). Journal of the American Musicological Society, vol. 44, no. 2, pp. 328–332.

Polk, Keith (1994). “Innovation in Instrumental Music 1450–1510: The Role of German Performers within European Culture.” In: Kmetz, John [ed.]. Music in the German Renaissance: Sources, Styles, and Contexts. Cambridge: Cambridge University Press, pp. 202-14. Accessed via Gallagher, Sean [ed.]. Secular Renaissance Music - Forms and Functions. Boston University, USA: Routledge, pp. 561–573. ISBN 9780754629467.

Quaranta, Elena (2018). “Parish and Monastic Churches: Civic Custom and the Quotidian in the System of Institutional Patronage.” In: Schiltz, Katelijne [ed.]. A Companion to Music in Sixteenth-Century Venice. Leiden/Boston: Brill, pp. 79–98.

Riley, Maurice W. (1953). “Sixteenth-Century String Pedagogy in the Tutors of Gerle and Ganassi” (abstract). Journal of the American Musicological Society, vol. 6, no. 1, pp. 87–88.

Selfridge-Field, Eleanor (2018). Review: Oltre San Marco. Organizzazione e prassi della musica nelle chiese di Venezia nel Rinascimento. Studi di musica veneta, 26. Firenze: Leo S. Olschki editore. ISBN 88-222-4662-4. In: Notes, Second Series, vol. 56, no. 3 (March, 2000), pp. 705–707

Selfridge-Field, Eleanor (2018). “Venetian Instrumental Music in the Sixteenth Century.” In: Schiltz, Katelijne [ed.]. A Companion to Music in Sixteenth-Century Venice. Leiden-Boston: Brill, pp. 415–439.

Surian, Elvidio; Ballerini, Graziano (2001). Bologna. Grove Music Online. https://doi.org/10.1093/gmo/9781561592630.article.03453. Also available at https://prrll.com/bolognassi.

Tarasov, Nik (2002). “Klangrede & Klang.” Windkanal 2/2002, pp. 6–9. ISSN 1864-6204. Cited by Griscom, Richard; Lasocki, David (2012). The recorder: A Research and Information Guide. Third edition, p. 298. New York: Routledge.

Titan, Dina (2022). “The printing of Silvestro Ganassi’s Fontegara. A comparative survey of the extant copies”. Recercare XXXIV-2022. ISBN 9788855431484.

Titan, Dina (2023). “«Imitar il parlar» and the «questione della lingua» in Silvestro Ganassi’s Fontegara”. Cristina Cassia, ed. Musica e cultura nella Padova di Pietro Bembo. Libreria Musicale Italiana, 2023. ISBN 9788855433037.

Tol, Han (2012). “Composta per Sylvestro di Ganassi dal Fontego.” Tibia 4, 2012, pp. 242–256.

Tol, Han (2013). “Composta per Sylvestro di Ganassi dal Fontego II.” Tibia 2, 2013, pp. 403–413.

Tol, Han (2013). “What the Woodcut from Opera intitulata Fontegara Shows Us about Ganassi.” American Recorder 54, no. 1, pp. 26–32.

Vio, Gastone; Toffolo, Stefano (1988). “La diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani nel XVI secolo a Venezia.” Il Flauto dolce 17/18, pp. 33–40 .