The posthumously published correspondence of the Black British writer, butler, musician, and shopkeeper Ignatius Sancho (c. 1729–1780) has received extensive critical attention in recent decades, especially because it contributed to opening a space for Black authorship in the Atlantic world. Absent from discussions of Sancho's negotiation of orality, writing, and print have been Sancho's books of musical compositions—the volumes published during his lifetime, apparently with his involvement and oversight. Consideration of his instrumental dance music within the context of the genres in which he wrote reveals that he navigated the boundary between orality and print deliberately and meaningfully. His musical notation engages with the sentimental style, and his explicit use of French horns—extremely rare or perhaps unique among eighteenth-century publications of dance music for small ensembles—refers to the presence of Black musicians in Britain. By engaging with and subverting conventions of musical notation and print, Sancho's music points beyond itself, guiding the reader or listener from the notated scores to the ineffable, transient sounds of the eighteenth-century Black experience.

中文翻译：

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Ignatius Sancho（约 1729–1780 年）1 音乐中的记谱法、演奏和印刷意义

英国黑人作家、管家、音乐家和店主 Ignatius Sancho（c. 1729–1780) 近几十年来受到了广泛的批评，特别是因为它为大西洋世界的黑人作家开辟了空间。Sancho 的音乐作品集没有讨论 Sancho 对口头、写作和印刷的谈判——这些书籍是在他有生之年出版的，显然是在他的参与和监督下。在他创作的流派的背景下考虑他的器乐舞曲表明他有意识地和有意义地在口头和印刷之间导航。他的音乐符号与感伤风格有关，他对圆号的明确使用——在 18 世纪的小型合奏舞曲出版物中极为罕见，或者可能是独一无二的——指的是英国黑人音乐家的存在。