Pages 225-353 comprise nine appendices of various archival documents, including general accounts, and accounts relative to the musical activities and musical materials (manuscript and printed) of the Confraternity of Our Illustrious Lady (Illustre Lieve Vrouwe Broederschap) in 's-Hertogenbosch. Roelvink's hardbound volume counts 376 pages, the first 208 of which comprise the text and its endnotes. This seems to be a new and welcome trend, a choice also made by Pieter Andriessen in his excellent new monograph, Die van Muziken gheerne horen. The only way to make Dutch more broadly accepted is indeed by offering such high-quality scholarship that it can no longer be avoided. I commend the author for making the difficult decision to present her work in a language not widely considered one of international scholarship. On the other hand, this is the kind of book that might also enjoy a nonmusicological or even nonhistorical readership, such as Dutch and Flemish readers who may not read English, as the author states in her Woord vooraf. To have published the book in Dutch will probably reduce the number of readers able to benefit from it, but this will not affect specialists, as I cannot imagine that scholars interested in this music would be unable to read Dutch. Nonetheless, it has become fairly rare for an important monograph, such as VĂ©ronique Roelvink's Gegeven den Sangeren (Polyphonic Music in the Confraternity of Our Illustrious Lady in Sixteenth-Century 's-Hertogenbosch) to be published in a language other than English. Although only a small part of the Renaissance music produced in the Low Countries has been preserved, the long tradition of scholarship on the subject ranges far beyond the borders of the Benelux and Northern France.
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