*Rebecca Edwards’s ( research and publications focus on music and musicians in Venice during the sixteenth and seventeenth centuries, especially such figures as Annibale Padovano, Girolamo Parabosco, Claudio Merulo, Andrea and Giovanni Gabrieli, and Gioseffo Zarlino in the Cappella San Marco. Her current projects include substantial reevaluations of the careers of Antonio Molino and Andrea Gabrieli. Most recently Visiting Professor of Music and Director of the First Year Seminar at Saint Martin’s University, she now divides her time between Los Angeles and Italy.

[1] Important new insights into the life and works of Giovanni Gabrieli are especially offered in two anniversary publications by Rodolfo Baroncini, Giovanni Gabrieli (Palermo: L’Epos, 2012) and Rebecca Edwards, “Becoming Magnificent: Giovanni Gabrieli from His Annus horribilis to His Death in 1612,” Musica disciplina 65 (2011): 335–417.

[2] Introduction, vii.

[3] “A Newly Discovered Songbook in Poland with Works by Henry Lawes and His Contemporaries.”

[4] “Newly Discovered Manuscript Parts and Annotations in a Copy of Giovanni Gabrieli’sSymphoniae Sacrae(1615)”; “Giovanni Gabrieli’s Sacrae Symphoniae (Venice, 1597): Some Rediscovered Partbooks with New Evidence about Performance Practice”; “A New Keyboard Work by Giovanni Gabrieli and the Relevance of Its Compositional Technique.”

[5] II, 204–5, 215, and “Newly Discovered Works by Giovanni Gabrieli,” Music and Letters 68, no. 4 (October 1987): 348–49.

[6] III, 15.

[7] The subject of San Marco’s instruments, first broached by Francesco Sansovino in Venetia città nobilissima et singolare (Venice: Altobello Salicato, 1604), was amplified in the work of Louis Helmut Debes, “Die musikalischen Werke von Claudio Merulo (1533–1604): Quellennachweis und thematischer Katalog” (Ph.D. diss., Julius-Maximilians-Universität, Würzburg, 1964), xi, and Eleanor Selfridge-Field, “Gabrieli and the Organ,” The Organ Yearbook 8 (1977): 2–19.

[8] “New Motets by Hans Leo Hassler: Indications of Second Thoughts.”