In popular music, a cover version, cover song, revival, or cover, is a new performance or recording by someone other than the original artist or composer of a recorded, commercially released song. Before the onset of rock'n' roll in the 1950s, songs were published and several records of a song might be brought out by singers of the day, each giving it their individual treatment. Cover versions could be released as an effort to revive the song's popularity among younger generations of listeners after the popularity of the original version has long since declined over the years. On occasion, a cover can become more popular than the original, such as Elvis Presley's version of Carl Perkins' original "Blue Suede Shoes", Santana's 1970 version of Peter Green's and Fleetwood Mac's 1968 "Black Magic Woman", Johnny Cash's version of Nine Inch Nails' "Hurt", Whitney Houston's versions of Dolly Parton's "I Will Always Love You" and of George Benson's "The Greatest Love of All", Glenn Medeiros's version of George Benson's "Nothing's Gonna Change My Love for You" or Jimi Hendrix's version of Bob Dylan's "All Along the Watchtower".
The Hendrix recording, released six months after Dylan's original, became a Top 10 single in the UK in 1968 and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time. Another famous example is the Beatles' cover of "Twist and Shout" by the Top Notes, their cover of the song, "Til There Was You", by Meredith Willson, among many others; the term "cover" goes back decades when cover version described a rival version of a tune recorded to compete with the released version. The Chicago Tribune described the term in 1952: "trade jargon meaning to record a tune that looks like a potential hit on someone else's label". Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed odd – the production of musical entertainment was seen as a live event if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record.
In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. In previous generations, some artists made successful careers of presenting revivals or reworkings of once-popular tunes out of doing contemporary cover versions of current hits. Musicians now play what they call "cover versions" of songs as a tribute to the original performer or group. Using familiar material is an important method of learning music styles; until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. Artists might perform interpretations of a favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes. A cover band plays such "cover versions" exclusively. Today three broad types of entertainers depend on cover versions for their principal repertoire: Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band.
Bands such as Björn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show, The Iron Maidens and Glory Days are dedicated to playing the music of ABBA, Led Zeppelin, The Beatles, Pink Floyd, Iron Maiden and Bruce Springsteen respectively. Some tribute acts salute the Who, many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience to experience the "next best thing" to the original act; the formation of tribute acts is proportional to the enduring popularity of the original act. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles and Metallica. There are situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim "Ripper" Owens who, once the lead singer of Judas Priest tribute band British Steel, went on to join Judas Priest himself.
Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs. Such bands draw from current Top 40 hits and/or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen; the use of a screen for lyrics as a memory aid can increase the number of songs a singer can perform. Revivalist artists or bands are performers who are inspired by an entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely on audiences seeking a nostalgic experience, revivalist bands seek new young audiences for whom the music is fresh and has no nostalgic value.
For example, Sha Na Na
Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, has experienced various revivals since then. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as unsophisticated and aggressive lyrics and delivery, its name derives from the perception that groups were made up of young amateurs who rehearsed in the family garage, although many were professional. In the US and Canada, surf rock—and the Beatles and other beat groups of the British Invasion—motivated thousands of young people to form bands between 1963 and 1968. Hundreds of acts produced regional hits, some had national hits played on AM radio stations. With the advent of psychedelia, a number of garage bands incorporated exotic elements into the genre's primitive stylistic framework. After 1968, as more sophisticated forms of rock music came to dominate the marketplace, garage rock records disappeared from national and regional charts, the movement faded.
Other countries in the 1960s developed similar grass-roots rock movements that have sometimes been characterized as variants of garage rock. During the 1960s garage rock was not recognized as a distinct genre and had no specific name, but critical hindsight in the early 1970s—and the 1972 compilation album Nuggets—did much to define and memorialize the style. Between 1971 and 1973, certain American rock critics began to retroactively identify the music as a genre and for several years used the term "punk rock" to describe it, making it the first form of music to bear the description, predating the more familiar use of the term appropriated by the punk rock movement that it influenced. "Garage rock" came into use at the beginning of the 1980s and gained favor amongst devotees. The genre has been referred to as "proto-punk". In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands. In the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the garage punk label and otherwise associated with 1960s garage bands.
In the 2000s, a wave of garage-influenced acts associated with the post-punk revival emerged, some achieved commercial success. Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "do-it-yourself" musical approach; the term "garage rock" used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage. While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties; the term "garage band" is used to refer to musical acts in this genre. Referring to the 1960s, Mike Markesich commented "...teenge rock & roll groups proliferated Everywheresville USA". Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive on a still unprecedented scale in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other..."
According to Mark Nobles, it is estimated that between 1964-1968 over 180,000 bands formed in the United States, several thousand US garage acts made records during the era. Garage bands performed in a variety of venues. Local and regional groups played at parties, school dances, teen clubs. For acts of legal age, bars and college fraternity socials provided regular engagements. Groups had the opportunity to open at shows for famous touring acts; some garage rock bands went on tour those better-known, but lesser-known groups sometimes received bookings or airplay beyond their immediate locales. Groups competed in "battles of the bands", which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio. Contests were held, locally and nationally, three of the most prestigious national events were held annually by the Tea Council of the U. S. A. the Music Circus, the United States Junior Chamber. Performances sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being common.
The lyrics and delivery were more aggressive than the more polished acts of the time with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release. Instrumentation was characterized by basic chord structures played on electric guitars or keyboards distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chords or power chords. Portable organs such as the Farfisa were used and harmonicas and hand-held percussion such as tambourines were not uncommon; the tempo was sped up in passages sometimes referred to as "raveups". Garage rock acts were diverse in both musical ability and in style, ranging from crude and amateurish to near-studio level musicianship. There were regional variations in flourishing scenes, such as in California and Texas; the north-western states of Idaho and Oregon had a distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders.
In the 1960s, garage rock had no name and was not thought of as a genre, but
A Place to Bury Strangers
A Place to Bury Strangers are a New York City-based American noise rock band, composed of Oliver Ackermann, Dion Lunadon and Lia Simone Braswell. The band known by the initials APTBS, play a heavy, atmospheric wall of sound-influenced blend of psychedelic rock and space rock. A Place to Bury Strangers were formed in 2002 by Tim Gregorio. Current frontman and guitarist Ackermann had moved to New York following the disbanding of his previous group, Skywave, to join APTBS, become the primary songwriter after the departure of Goffan, they played their first show at Luxx in Brooklyn in 2003. Jason "Jay Space" Weilmeister and Jonathan "Jono Mofo" Smith, both from the New York City-based band Mofo, joined the band when Gregorio left. In 2006, APTBS self-released three different EPs, handmade with different color schemes: Breathe, Missing You and Never Going Down. In 2006, APTBS gained acclaim following their Webster Hall performance with the Brian Jonestown Massacre; the band returned to Webster Hall in 2007 to play with one of their major influences, the Jesus and Mary Chain.
Throughout these formative years, the band's live shows became chaotic, which earned them the title of New York City's "loudest band" from various indie reviewers and bloggers, as well as "the most ear-shatteringly loud garage/shoegaze band you'll hear" by The Washington Post. The New York Times applauded their revival of "the ominous, feedback-drenched drones of the 1980s". In 2007, Jon Whitney from the Killer Pimp label wrote the contract for their first album, A Place to Bury Strangers, on a napkin. In August 2007, the band gained national attention after a favorable Pitchfork review of this album. In 2007, the band joined Black Rebel Motorcycle Club on the "Holy Fuck" tour. In April 2008, it was announced that APTBS would open for Nine Inch Nails on several dates of the latter's US tour. Following several UK gigs, the first album was issued in the UK in October 2008 by Rocket Girl, they received strong praise from the British media including NME and Kerrang!. In November 2008, the band returned to Europe and the UK on tour supporting MGMT.
In early 2009, APTBS signed to Mute Records. The band announced another European tour and appearances at the Coachella Valley Music and Arts Festival, Seaport Music Festival and Siren Music Festival, their second album, Exploding Head, was released by Mute in October 2009. In spring 2010, Smith decided to leave APTBS for personal reasons rather than participate in their US tour supporting the Big Pink, he was replaced for that spring tour by Lunadon of the bands the D4 and the True Lovers. On July 5, 2010, APTBS visited Bogotá, Colombia for the first time, played at Rock al Parque, the largest free rock festival in South America. On February 14, 2011, Ackermann stated that the band had begun working on their third full-length album. On January 10, 2012, A Place to Bury Strangers released an all-Hipstamatic video shot on an iPhone for the song "So Far Away" from the Onwards to the Wall EP. On February 12, 2012, the band announced. On May 2, 2012, it was announced that the band's third album, was scheduled for release on the Dead Oceans label, on June 11 in the UK and Europe and on June 26, 2012 in the US.
The band announced plans to support the release with a full North American tour in October 2012. In early March 2013, APTBS announced that they had recorded covers of songs by Portland band Dead Moon for release on Record Store Day 2013 as an EP titled Strange Moon. Gonzalez decided to retire from touring, during the subsequent 2016 tour, John Fedowitz played drums for the band. In March 2013, the band began recording Transfixiation, they recorded for several days at ABC Studios in Etne, with Emil Nikolaisen of Serena Maneesh. The album was released on February 2015 on Dead Oceans. In February 2018, the band announced that Lia Simon Braswell would be a permanent replacement for Gonzalez as the band's drummer, their fifth studio album, was released on April 13. A Place to Bury Strangers Exploding Head Worship Transfixiation Pinned Breathe Missing You Never Going Down The Box Set Hoxton Square Sessions Ego Death 2010 Tour EP Onwards to the Wall Strange Moon "To Fix the Gash in Your Head" 10"/12" "I Know I'll See You" 7" "Breathe" 7" "Missing You" 7" "In Your Heart" 7" "Keep Slipping Away" 7" "You Are the One" 7" "And I'm Up" 7" Less Artists More Condos Series #1 split single with Ceremony "Raiser" 7" "We've Come So Far" 7" "Straight" 7" "Never Coming Back" "There's Only One of Us" Loud and Live in 2012 Official website
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Out of My Head (album)
Out Of My Head is the second album released by New Zealand rock band The D4 in 2005. A two-disc limited edition version of the album was released in 2005 Original release"Sake Bomb" "Out Of My Head" "Feel It Like It" "What I Want" "Trust Nobody" "Stops Me Cold" "Omertà" "Out Of Control" "Too Stupid" "Do No Right" "Peepshow" "Savage"Limited Edition release "Sake Bomb" "Out Of My Head" "Feel It Like It" "What I Want" "Trust Nobody" "Stops Me Cold" "Omertà" "Out Of Control" "Too Stupid" "Do No Right" "Peepshow" "Savage" "Sake Bomb" "Rock'n' Rule" "Diamond, Stone"
Austin is the capital of the U. S. state of Texas and the seat of Travis County, with portions extending into Hays and Williamson counties. It is the 4th-most populous city in Texas, it is the fastest growing large city in the United States, the second most populous state capital after Phoenix and the southernmost state capital in the contiguous United States. As of the U. S. Census Bureau's July 1, 2017 estimate, Austin had a population of 950,715 up from 790,491 at the 2010 census; the city is the cultural and economic center of the Austin–Round Rock metropolitan statistical area, which had an estimated population of 2,115,827 as of July 1, 2017. Located in Central Texas within the greater Texas Hill Country, it is home to numerous lakes and waterways, including Lady Bird Lake and Lake Travis on the Colorado River, Barton Springs, McKinney Falls, Lake Walter E. Long. In the 1830s, pioneers began to settle the area in central Austin along the Colorado River. In 1839, the site was chosen to replace Houston as the capital of the Republic of Texas and was incorporated under the name "Waterloo."
Shortly afterward, the name was changed to Austin in honor of Stephen F. Austin, the "Father of Texas" and the republic's first secretary of state; the city grew throughout the 19th century and became a center for government and education with the construction of the Texas State Capitol and the University of Texas at Austin. After a severe lull in economic growth from the Great Depression, Austin resumed its steady development, by the 1990s it emerged as a center for technology and business. A number of Fortune 500 companies have headquarters or regional offices in Austin including, 3M, Amazon.com, Apple Inc. Cisco, eBay, General Motors, Google, IBM, Oracle Corporation, PayPal, Texas Instruments, Whole Foods Market. Dell's worldwide headquarters is located in Round Rock. Residents of Austin are known as Austinites, they include a diverse mix of government employees, college students, high-tech workers, blue-collar workers, a vibrant LGBT community. The city's official slogan promotes Austin as "The Live Music Capital of the World," a reference to the city's many musicians and live music venues, as well as the long-running PBS TV concert series Austin City Limits.
The city adopted "Silicon Hills" as a nickname in the 1990s due to a rapid influx of technology and development companies. In recent years, some Austinites have adopted the unofficial slogan "Keep Austin Weird," which refers to the desire to protect small and local businesses from being overrun by large corporations. In the late 19th century, Austin was known as the "City of the Violet Crown," because of the colorful glow of light across the hills just after sunset. Today, many Austin businesses use the term "Violet Crown" in their name. Austin is known as a "clean-air city" for its stringent no-smoking ordinances that apply to all public places and buildings, including restaurants and bars. U. S. News & World Report named Austin the #1 place to live in the U. S. for 2017 and 2018. In 2016, Forbes ranked Austin #1 on its "Cities of the Future" list in 2017 placed the city at that same position on its list for the "Next Biggest Boom Town in the U. S." In 2017, Forbes awarded the South River City neighborhood of Austin its #2 ranking for "Best Cities and Neighborhoods for Millennials."
WalletHub named Austin the #6 best place in the country to live for 2017. The FBI ranked Austin as the #2 safest major city in the U. S. for 2012. Austin, Travis County and Williamson County have been the site of human habitation since at least 9200 BC; the area's earliest known inhabitants lived during the late Pleistocene and are linked to the Clovis culture around 9200 BC, based on evidence found throughout the area and documented at the much-studied Gault Site, midway between Georgetown and Fort Hood. When settlers arrived from Europe, the Tonkawa tribe inhabited the area; the Comanches and Lipan Apaches were known to travel through the area. Spanish colonists, including the Espinosa-Olivares-Aguirre expedition, traveled through the area for centuries, though few permanent settlements were created for some time. In 1730, three missions from East Texas were combined and reestablished as one mission on the south side of the Colorado River, in what is now Zilker Park, in Austin; the mission was in this area for only about seven months, was moved to San Antonio de Béxar and split into three missions.
Early in the 19th century, Spanish forts were established in what are now San Marcos. Following Mexico's independence, new settlements were established in Central Texas, but growth in the region was stagnant because of conflicts with the regional Native Americans. In 1835 -- 1836, Texans won independence from Mexico. Texas thus became an independent country with its own president and monetary system. After Vice President Mirabeau B. Lamar visited the area during a buffalo-hunting expedition between 1837 and 1838, he proposed that the republic's capital in Houston, be relocated to the area situated on the north bank of the Colorado River. In 1839, the Texas Congress formed a commission to seek a site for a new capital to be named for Stephen F. Austin. Mirabeau B. Lamar, second president of the newly formed Republic of Texas, advised the commissioners to investigate the area named Waterloo, noting the area's hills and pleasant surroundings. Waterloo was selected, "Austin" was chosen as the town's new name.
The location was seen as a convenient crossroads for trade routes between Santa Fe and Galveston Bay, as well as routes between northern Mexico and the Red River. Edwin Wall
The music industry consists of the companies and individuals that earn money by creating new songs and pieces and selling live concerts and shows and video recordings and sheet music, the organizations and associations that aid and represent music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who create new songs and musical pieces; the industry includes a range of professionals who assist singers and musicians with their music careers. In addition to the businesses and artists who work in the music industry to make a profit or income, there is a range of organizations that play an important role in the music industry, including musician's unions, not-for-profit performance-rights organizations and other associations; the modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry"—a reference to recording performances of songs and pieces and selling the recordings–began to be used as a loose synonym for "the music industry".
In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned Universal Music Group, the Japanese-owned Sony Music Entertainment, the US-owned Warner Music Group. Labels outside of these three major labels are referred to as independent labels; the largest portion of the live music market for concerts and tours is controlled by Live Nation, the largest promoter and music venue owner. Live Nation is a former subsidiary of iHeartMedia Inc, the largest owner of radio stations in the United States. In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet. A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off while live music has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company: Apple Inc.'s online iTunes Store.
Since 2011, the Music Industry has seen consistent sales growth with streaming now generating more revenue per annum than digital downloads. Spotify and Apple lead the way with online digital streaming. Printed music in Europe: Music publishing using machine-printed sheet music developed during the Renaissance music era in the mid-15th century; the development of music publication followed the evolution of printing technologies that were first developed for printing regular books. After the mid-15th century, mechanical techniques for printing sheet music were first developed; the earliest example, a set of liturgical chants, dates from about 1465, shortly after the Gutenberg Bible was printed. Prior to this time, music had to be copied out by hand. To copy music notation by hand was a costly, labor-intensive and time-consuming process, so it was undertaken only by monks and priests seeking to preserve sacred music for the church; the few collections of secular music that are extant were commissioned and owned by wealthy aristocrats.
Examples include the Squarcialupi Codex of Italian Trecento music and the Chantilly Codex of French Ars subtilior music. The use of printing enabled sheet music to reproduced much more and at a much lower cost than hand-copying music notation; this helped musical styles to spread to other cities and countries more and it enabled music to be spread to more distant areas. Prior to the invention of music printing, a composer's music might only be known in the city she lived in and its surrounding towns, because only wealthy aristocrats would be able to afford to have hand copies made of her music. With music printing, though, a composer's music could be printed and sold at a low cost to purchasers from a wide geographic area; as sheet music of major composer's pieces and songs began to be printed and distributed in a wider area, this enabled composers and listeners to hear new styles and forms of music. A German composer could buy songs written by an Italian or English composer, an Italian composer could buy pieces written by Dutch composers and learn how they wrote music.
This led to more blending of musical styles from different regions. The pioneer of modern music printing was Ottaviano Petrucci, a printer and publisher, able to secure a twenty-year monopoly on printed music in Venice during the 16th century. Venice was one of music centers during this period, his Harmoni