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Though
Attaingnant is often credited with being the first to develop this technique, one scholar has suggested that John Rastell, an English printer in London, was the first to use single-impression printing in 1520. Attaingnant's biographer Daniel Heartz, in contrast, analyzed the printer's
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Among the most important documents for keyboard music in general and for French
Renaissance keyboard music in particular are the seven volumes published by Attaingnant in Paris in the spring of 1531:
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Attaingnant learned the printing trade by printing first "livres d'heure" with the printer
Philippe Pigouchet who sold them to Simon Vostre book shop located in St John the evangelist street near the
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Quatorze
Gaillardes neuf Pavennes, sept Branles et deux Basses Dances le tout reduict de musique en la tabulature du jeu d'Orgues Espinettes Manicordions et telz semblables instrumentz musicaulx...
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Magnificat sur les huit tons avec Te Deum laudamus et deux
Preludes, le tout mys en tabulature des Orgues Espinettes et Manicordions, et telz semblables instrumentz... Kal. Martii 1530
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Attaingnant's major contribution to music printing consists in his popularizing the single-impression method for music printing, which he first employed in his 1528 publication
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Tabulature pour le jeu d’Orgues, Espinettes et
Manicordions sur le plain chant de Cunctipotens et Kyrie Fons. Avec leurs Et in terra, Patrem, Sanctus et Agnus Dei...
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Treze Motetz musicaulx avec ung
Prelude, le tout reduict en la Tabulature des Orgues Espinettes et Manicordions et telz semblables instrumentz... Kal. Aprilis 1531
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Of
Attaignant's publications, 111 are known to have survived to the present day, and they form an important source of information about sixteenth-century music.
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Vingt et six chansons musicales reduictes en la tabulature des Orgues
Espinettes Manichordions, et telz semblables instrumentz musicaulx... Non. Frebruaii 1530
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Dixneuf chansons musicales reduictes en la tabulature des Orgues
Espinettes Manichordions, et telz semblables instrumentz musicaulx... Idibus Januraii 1530
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Vingt et cinq chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions, et telz semblables instrumentz musicaulx... Kal. 1530
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in the Parisian student district. Later Pigouchet became Attaingnant's father-in-law when Attaingnant married his daughter.
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inventory records and other documents and concluded that Attaingnant's claims of inventing the technique were likely true.
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Pogue, Samuel F. "Pierre Attaingnant, Royal Printer of Music." Notes, vol. 27, no. 2, 1970, pp. 258–60. JSTOR,
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One of the pieces published by Attaingnant has been used three times in 20th- and 21st-century popular music:
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Pierre Attaingnant, Royal Printer of Music: A Historical Study and Bibliographical Catalogue
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Apart from his 36 collections of chansons, he also published books with pieces in
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for his music books, which were renewed many times. In 1537, he was named
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King, A. 1971. The Significance of John Rastell in Early Music Printing.
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Another melody published by Attaingnant is used in several songs:
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278:"O Sonar das Augas" by Spanish Neoclassical darkwave band
216:"Donna ti voglio cantare" by Italian singer-songwriter
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by many different composers, including Paris composers
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The original can be heard below, in the first sample,
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260:"Eternal Wait" by Finnish Folk metal band
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292:"Tourdion" by German medieval folk bands
229:"Play Minstrel Play" by Renaissance band
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485:Free scores by Pierre Attaingnant
475:Free scores by Pierre Attaingnant
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536:French music publishers (people)
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63:Attaingnant published over 1500
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495:Free scores (Kantoreiarchiv)
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267:"Ethelion" by British
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389:"Pierre Attaingnant"
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223:Cogli la prima mela
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356:media help
35:Attaignant
302:dArtagnan
280:Narsilion
262:Ensiferum
144:tablature
400:4 August
244:Rhapsody
113:chansons
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