This paper examines the rhetorics with which Johann Schein invokes authorities
to govern the meanings of his music prints. Although these rhetorics reflect
the attitudes to print and authority held in Lutheran cities before the
Thirty Years' War, they are particularly pronounced in Schein's prints
because he was a self-publisher. Schein authorises an
occasional print by stressing its accuracy as a representation of the performance of the piece. His partbook collections, by contrast, have a strong authorial presence manifest in his concern for textual correctness and for his intellectual property rights. When Schein reprints an occasional piece in one of his collected volumes, the changes in his authorising rhetorics illuminate his perceptions of both his music and his status as a composer.