Evidence of Things Past

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Notes

¹Theodor Dumitrescu, The Early Tudor Court and International Musical Relations (Aldershot, 2007), 224–6.

²John Taverner, Masses, Tudor Church Music, 1 (Oxford, 1923), lviii.

³Roger Bray, ‘British Museum Add. MSS 17802–5 (The Gyffard Part-Books): An Index and Commentary’, Royal Musical Association Research Chronicle, 7 (1969), 31–50.

⁴His work is summarized (with some new information) in the prefaces to these EECM volumes; for a full account see David Mateer, ‘The Compilation of the Gyffard Partbooks’, Royal Musical Association Research Chronicle, 26 (1993), 19–43, and idem, ‘The Gyffard Partbooks: Composers, Owners, Date and Provenance’, ibid., 28 (1995), 21–50.

⁵John Milsom, ‘Sacred Songs in the Chamber’, English Choral Practice 1400–1650, ed. John Morehen (Cambridge, 1995), 161–79.

⁶Philip Brett, ‘Edward Paston (1550–1630): A Norfolk Gentleman and his Musical Collection’, Transactions of the Cambridge Bibliographical Society, 4 (1964–8), 51–69, repr. in idem, William Byrd and his Contemporaries: Essays and a Monograph, ed. Joseph Kerman and Davitt Moroney (Berkeley, CA, 2007), 31–59; Brett, ‘Prefaces to Gradualia’, ibid., 128–230.

⁷Milsom, ‘Sacred Songs in the Chamber’, 167–8; David Mateer, ‘William Byrd, John Petre and Oxford, Bodleian MS Mus. Sch. E. 423’, Royal Musical Association Research Chronicle, 29 (1996), 21–46.

⁸ The Tudor Church Music of the Lumley Books, ed. Judith Blezzard, Recent Researches in the Music of the Renaissance, 65 (Madison, WI, 1985); The Wanley Manuscripts, ed. James Wrightson, ibid., 99–101 (Madison, WI, 1995); Milsom, ‘Sacred Songs in the Chamber’, 169–70.

⁹John Bergsagel, ‘An Introduction to Ludford (c.1485–c.1557)’, Musica disciplina, 14 (1960), 105–30; idem, ‘On the Performance of Ludford's Alternatim Masses’, ibid., 16 (1962), 35–55; John Milsom, ‘The Date of Ludford's Lady Masses: A Cautionary Note’, Music and Letters, 66 (1985), 367–8.

¹⁰Roger Bray, ‘The Part-Books Oxford, Christ Church, MSS 979–983: An Index and Commentary’, Musica disciplina, 25 (1971), 179–97; idem, ‘British Library, R.M. 24 d 2 (John Baldwin's Commonplace Book): An Index and Commentary’, Royal Musical Association Research Chronicle, 12 (1974), 137–51; idem, ‘John Baldwin’, Music and Letters, 56 (1975), 55–9.

¹¹David Mateer, ‘Oxford, Christ Church Music MSS 984–8: An Index and Commentary’, Royal Musical Association Research Chronicle, 20 (1986–7), 1–18; John Milsom, introduction to The Dow Partbooks (Oxford, 2010), 1–28.

¹²David Mateer, ‘John Sadler and Oxford, Bodleian Mss Mus. e. 1–5’, Music and Letters, 60 (1979), 281–95; Judith Blezzard, ‘Monsters and Messages: The Wilmott and Braikenridge Manuscripts of Latin Church Music, 1591’, Antiquaries Journal, 75 (1995), 311–38.

¹³id eo fecimus, amice lector, non quod eos omnes pro divis habeamus, quorum aliquos ne in bonis quidem ducimus; aut quod alioqui (si sanctissimi sint) iis divinum cultum atque honorem tribuendum censeamus: sed ut certarum quarundam rerum, quarum stata tempora nosse plurimum refert, quarumque ignoratio nostris hominibus obesse possit, quasi notae quaedam sint atque indicia’. Preces priuatae in studiosorum gratiam collectae, & regia authoritate approbatae (London: William Seres, 1564), ‘Admonitio ad lectorem’.

¹⁴John Milsom, ‘The Arcane Colours of Fayrfax’, Early Music, 33 (2005), 523–4.

¹⁵Edward Wickham, ‘Foibles of Format’, Early Music, 37 (2009), 125–6 (p. 126).

¹⁶Edward Lowinsky, ‘Laurence Feininger (1909–1976): Life, Work, Legacy’, Musical Quarterly, 63 (1977), 327–66 (p. 344).

¹⁷David Wulstan, review of EECM 18 (John Sheppard, Masses), Music and Letters, 58 (1977), 369.