Christina Hutten

Kapellmeister Orlando di Lasso’s Sacrae cantiones (1562) from the sixteenth through the nineteenth centuries. The motets of this collection survive in hundreds of prints and manuscripts ranging from meticulous reproductions to arrangements, embellishments, and imitations, and their dissemination transcended national, confessional, generic, and stylistic boundaries. Musicologist James Erb hypothesizes that this collection may have been one of the best-know collections of polyphony ever printed. During the coming months of archival research, I plan to examine surviving sources for evidence of use, ex libris indications, marginal annotations, dedications, layout and formatting, and anything else that will help me to understand their ownership history, function, and cultural significance. My doctoral research is funded by the Deutscher Akademischer Austauschdienst and the Social Sciences and Humanities Research Council of Canada