Description based upon print version of record.

Cover; Half-title; Series information; Title page; Copyright information; Dedication; Contents; List of Figures; Music Examples; Acknowledgements; Author's Note; List of Abbreviations; Introduction; Chapter 1 God, Talent, Craft: Concepts of Musical Creativity; Theological Concepts of Creativity; Humanist Notions of Authorship; The Artisanal View of Production; Debates about Invention; Epilogue; Chapter 2 Between Imitatio and Plagiarism; Imitatio and Authority; Emulation and Allusion; Plagiarism versus Honest Theft; Early Capitalism and Musical Borrowing; Epilogue

Chapter 3 Signs of IndividualityCapitalism and the Crisis of Authentication; Composers and Authentication Marks; Composer Portraits in Printed Music; Individuality and Compositional Style; Chapter 4 Rites of Musical Ownership; Common Good versus Princely Secrecy; Privileges as Princely Protection; Privileges versus Piracy; Musical Ownership in the Age of Manuscript; Chapter 5 The Regulation of Novelty; Social Discipline and Music; The 1580 Edict and Its Implementation; The Cantor as Composer; Choosing a New Cantor; Chapter 6 Authorship and Performance

Models for the Composer-Performer RelationshipComposition and Performance as Separate Spheres; The Composer as Ideal Performer; Authorial Intentions and Performance; Conclusion; Bibliography; Primary Sources; Manuscripts; Printed Primary Sources; Secondary sources; Modern editions of music; Index

Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used.

Master record variable field(s) change: 050, 072, 082, 650