Abstract
The act of dedicating music books was a common practice in the sixteenth century. To date, dedicatory letters introducing printed music have been consulted for retrieving mainly biographical or circumstantial information. This article presents a close reading of the paratexts included in Philippus de Monte’s motet prints. In addition to pointing out a hitherto insufficiently explored connection between the imperial chapel-master and the French court environment, it discusses the political possibilities of one of the editions through a comparison with Orlando di Lasso’s 1571 Paris edition of five-voice motets. Furthermore, Monte’s own awareness of the possibilities and functioning of the dedication medium is traced throughout the paratexts. The study also highlights Monte’s unique treatment of secular motets with regard to both compositional practice and publication choices.
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