The bibliography on the Italian secular polyphony of the sixteenth and seventeenth centuries, which describes the repertoire in the editions of various authors (compared to that of the books of a single composer) has remained until today the least known, the least up-to-date, despite the efforts of several talented scholars. Relegated to a secondary section from the first Vogel (1892) and authoritatively revised by Alfred Einstein (1962), it was systematically 'baffled' by the musicology due to its varied complexity, with only some rare but partial exception (Lincoln, Lewis, Bernstein). Neither the New Vogel (1977), which had prudently evaded this gigantic repertoire – apart from some strange inclusions (Balbi, Barré, Doni etc.) –, has been updated in the last 35 years. Also the huge effort of the RISM (B/I) catalogue gives no assurance of completeness or noteworthy usefulness until, for example, the problem of the over one thousand anonymous or 'Of uncertain author' songs that disseminate the history of printed vocal music of the '500 /' 600 is fully addressed. This means that to date the scholar who wants to consciously examine the genesis, the movement and the historical first-hand records on a given song, or on the songs of a collective book (which we have defined UBI for brevity) has to go through the not-indexed list of more than eight thousand songs-texts. Many studies, although limited to individual books, have documented the wealth of musical, literary, linguistic, geographical, professional proposals of this section, feeling the need of a larger organization without doing nothing to overcome this situation. The study and research of a single Italian scholar has finally remedied this binding necessity with a complete indexing of books, texts, dedications, internal notes in the books and the original documents provided by that repertory: this new bibliographical tool is called RIM (Italian Renaissance music). The full transcript of more than the 98% of the texts set to music in this repertoire, with the necessary computerized and digitized supports, allows the entire historiography on the Renaissance to progress its studies and research, not only in the identification of several hundreds of songs so far anonymous, but in many fields of the entire historiography of music in the age of the Italian madrigal. Carrying out a systematic investigation on the compilatory organization of the UBI has been possible only thanks to the availability of the RIM. This thesis therefore represents the systematic investigation on anthologies (choices of already known songs) and on edizioni collettive (collective editions are books of original songs) appropriately arranged in order to form programs and courses coherent in sense with the intentions of the coordinators, compilers-dedicators, artists who have compiled them to honour and illustrate their own community with music and poetry. About 150 books examined allow us to identify a previously unknown wealth of collective proposals and ingenious text-music organization to be seen as 'Libretto' ante litteram before the advent of melodrama.

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   |étape=   Exploration
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   |clé=     Hal:tel-01221347
   |texte=   Identity, evolution and internal organization of poetical-musical programmes in Renaissance Italian madrigal and canzonette prints "di diversi aurori"
}}