TY - THES
AU - Maureen Elizabeth Buja
AB - Antonio Barre (fl. 1551-1572) was a singer and composer who arrived in Rome in the early 1550s and issued his first books as a printer in 1555. His chosen genres for printing were the light forms: villanesche, moresche, and most prominently, madrigals. His anthologies, collected under the series title " ... delle Muse ... " (of the Muses), defined the new style of Roman madrigal, the "madrigali ariosi," which had developed outside the milieu of the Ferrarese and Venetian styles.

As a printer, Barre was innovative in his use of special symbols, most notably being the first to print the natural sign ($\natural$), which was first seen in his printing of Nicola Vicentino's treatise, L'antica musica riddotta alla moderna prattica. Because of his background as a composer, his music prints are noted for their careful attention to detail, with few typographical music errors.

In addition to his music prints, Barre also published non-music books. These appeared only during his first year of work, 1555. They include one of the most reprinted books from the mid-sixteenth century, Paolo Giovio's Dialogo dell'imprese militari et amorose. This has remained in print from 1555 until the late twentieth century. Another was a book of poetry in memory of Livia Colonna, a woman who had been the victim of a particularly gruesome murder.

Through his music and non-music books, we can see how Barre represents the norm of publishing in Rome. His activities and failures in publishing permit us to examine the economics of printing, the competition and cooperation among publishers, and allows us to observe at the larger picture of Rome as a failed center of publishing, as it increasingly lost ground to the more active printers in Venice.

The dissertation includes texts from all Barre music publications.
LA - English
M3 - Ph.D. Dissertation
N2 - Antonio Barre (fl. 1551-1572) was a singer and composer who arrived in Rome in the early 1550s and issued his first books as a printer in 1555. His chosen genres for printing were the light forms: villanesche, moresche, and most prominently, madrigals. His anthologies, collected under the series title " ... delle Muse ... " (of the Muses), defined the new style of Roman madrigal, the "madrigali ariosi," which had developed outside the milieu of the Ferrarese and Venetian styles.

As a printer, Barre was innovative in his use of special symbols, most notably being the first to print the natural sign ($\natural$), which was first seen in his printing of Nicola Vicentino's treatise, L'antica musica riddotta alla moderna prattica. Because of his background as a composer, his music prints are noted for their careful attention to detail, with few typographical music errors.

In addition to his music prints, Barre also published non-music books. These appeared only during his first year of work, 1555. They include one of the most reprinted books from the mid-sixteenth century, Paolo Giovio's Dialogo dell'imprese militari et amorose. This has remained in print from 1555 until the late twentieth century. Another was a book of poetry in memory of Livia Colonna, a woman who had been the victim of a particularly gruesome murder.

Through his music and non-music books, we can see how Barre represents the norm of publishing in Rome. His activities and failures in publishing permit us to examine the economics of printing, the competition and cooperation among publishers, and allows us to observe at the larger picture of Rome as a failed center of publishing, as it increasingly lost ground to the more active printers in Venice.

The dissertation includes texts from all Barre music publications.
PB - University of North Carolina at Chapel Hill
PY - 1996
EP - 547 pp.
TI - Antonio Barre and Music Printing, in Mid-Sixteenth Century Rome
ER -