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As we complete our research into England’s first major printed music treatise, we take this opportunity to share our current thoughts about Morley’s A plaine and easie introduction, and explain our strategy for publication. Underlying our work is a focus on ‘making’ – the processes of making a manuscript for the printer, and of making a printed book from that manuscript. Morley’s manuscript does not survive, so must be inferred from the finished book; but an investigation of its text does draw us into the materiality of his working methods, as he ‘tombles and tosses’ his various sources, whether acknowledged or not, and transforms them both to reflect his own understanding and priorities, and to make them conform to his design and purpose. The identification of Morley’s extensive ‘library’ of sources reveals a complex and multi-layered text, created in part from pre-existing materials and in part from his own experience and training as a musician. His distinctive voice emerges from the tantalizing accounts of musical practice evident in action verbs like foist, shift, stir, hang. Our investigation of the 1597 edition itself – the book qua book – has led to unexpected discoveries. We now believe that Morley, quite exceptionally, may have devised his treatise largely as a sequence of double-page spreads, and hence composed its literary content, music examples, tables and diagrams to fit into two-page openings. If our theory is correct, then layout is in effect an integral element of Morley’s text: pedagogy and design proceed hand in hand. Initially we had planned to publish a three-volume study in which our new edition of Morley’s text (vol. 1) is accompanied by a critical apparatus (vol. 2) and a set of essays by a distinguished cohort of musicologists (vol. 3). Our approach, however, has been transformed by the decision to add a full colour facsimile of a copy of the 1597 edition itself (vol. 4), allowing the book’s remarkable properties to be fully savoured and appreciated.
