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Itineraries of Musical Manuscripts and Prints in Modern Europe, edited by Metoda Kokole and Michael Talbot, is a double thematic volume of the journal De musica disserenda (vol. XI, nos 1–2, 2015). It contains 17 articles by musicologists from 10 European countries in English language, based on papers presented at the international conference held in Ljubljana in October 2014 and organised by the Institute of Musicology of the Scientific Research Centre of the Slovenian Academy of Sciences and Arts in partnership with the Jean Monnet University of Saint-Étienne in France and within the ambit of the HERA MusMig project. An introductory contribution by Iain Fenlon is followed by contributions of Paweł Gancarczyk, Jan Baťa and Lars Berglund which are concerned with Lutheran collections; next, articles by Marc Desmet and Marko Motnik examine the dissemination of works by Iacobus Handl-Gallus, while a large following group, by Ivano Cavallini, Michael Talbot, Tomasz Jeż, Marc Niubo, Rudolf Rasch and Vjera Katalinić, is made up of case studies dealing with various topics roughly ordered according to the chronology of the materials discussed. The volume ends with a series of articles presenting current Slovenian research into the subjects indicated by the respective titles, their authors being Klemen Grabnar, Radovan Škrjanc, Darja Koter, Vesna Venišnik and Maruša Zupančič.Texts are available also online in the Open Journal System http://ojs.zrc-sazu.si/dmd.The international conference took place in Ljubljana form 20th to 21st of October 2014.From Ever since Western music began being written down, it has been able to overcome the barriers of time and space. Any piece of music, given fixed form by notation, has been able to outlive its time and travel to other environments, which have understood and interpreted it in ways specific to the time, place and context of use. In parallel with the rise of copying and printing, music began to circulate over wider areas, which led to the creation of typical pathways by which musical works were disseminated, and eventually to a pan-European music market. Libraries abound in musical sources, handwritten or printed, that bear the visible signs of journeys – often long and tortuous – that they have made in order to reach their present location. Books containing music also have their histories, either generic or specific: any one of them may throw up questions about its place of origin, its purpose, its destination, its use (or non-use), its ownership (and the reasons behind it), and, finally, the route by which it reached its present location.Questions of this kind were the focus of the international scholarly conference Itineraries of Musical Manuscripts and Prints in Modern Europe. Central to the conference’s interest was the modalities of disseminating music manuscripts and prints during the period running from the invention of printing to the beginning of the nineteenth century. The conference’s aim was to identify typical ways in which music manuscripts and prints were disseminated, and to demarcate the most important European routes via which newly copied or printed music circulated during the period in question.The conference was organised by the Institute of Musicology at the Scientific Research Centre of the Slovenian Academy of Sciences and Arts and co-organised by the Jean Monnet University, Saint-Etienne, and carried out under the patronage of the HERA MusMig (Music Migrations in the Early Modern Age: the Meeting of the European East, West and South) project.Programme&#160;&#160;