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The First Booke of Songes Or Ayres (1600).
First Booke of Ayres
The First Book of Ayres (1597, 1600, 1603, 1606, 1613)
Patrons and Musicians of the English Renaissance
Author: David C. Price
Publisher: Cambridge University Press
Published: 1981-02-05
Total Pages: 274
ISBN-13: 0521228069
DOWNLOAD EBOOK →The author examines the secular music of the late Renaissance period primarily through families of varying importance.
Music in Shakespeare
Author: Christopher R. Wilson
Publisher: A&C Black
Published: 2014-02-27
Total Pages: 418
ISBN-13: 1472557522
DOWNLOAD EBOOK →With an A-Z of over 300 entries, Music in Shakespeare is the most comprehensive study of all the musical terms found in Shakespeare's complete works. It includes a definition of each musical term in its historical and theoretical context, and explores the diverse extent of musical imagery across the full range of Shakespeare's dramatic and poetic work, as well as analysing the usage of instruments and sound effects on the Shakespearean stage. This is a comprehensive reference guide for scholars and students with interests in the thematic and allegorical relevance of music in Shakespeare, and the history of performance. Identifying all musical terms found in the Shakespeare canon, it will also be of use to the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.
Songs Included in Michael Cavendish's Booke of Ayres and Madrigalles, 1598
Third Booke of Ayres, Circa 1617
The Lute in Britain
Author: Matthew Spring
Publisher: Oxford University Press, USA
Published: 2001
Total Pages: 576
ISBN-13: 9780195188387
DOWNLOAD EBOOK →"Spring focuses on the lute in Britain, but also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters cover all aspects of the lute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instrument's early history, the lute in consort, lute song accompaniment, the theorbo, and the lute in Scotland."--Jacket.
Thomas Morley
Author: Tessa Murray
Publisher: Boydell & Brewer Ltd
Published: 2014
Total Pages: 288
ISBN-13: 1843839601
DOWNLOAD EBOOK →An essential book for scholars and students of renaissance music, as well as the history of music publishing and print. The Renaissance composer and organist Thomas Morley (c.1557-1602) is best known as a leading member of the English Madrigal School, but he also built a significant business as a music publisher. This book looks at Morley's pioneering contribution to music publishing in England, inspired by an established music printing culture in continental Europe. A student of William Byrd, Morley had a conventional education and early career as a cathedral musician both in Norwich and at St Paul's cathedral. Morley lived amongst the traders, artisans and gentry of England's major cities at a time when a market for recreational music was beginning to emerge. His entrepreneurial drive combinedwith an astute assessment of his market resulted in a successful and influential publishing business. The turning point came with a visit to the Low Countries in 1591, which gave him the opportunity to see a thriving music printpublication business at first hand. Contemporary records provide a detailed picture of the processes involved in early modern music publishing and enable the construction of a financial model of Morley's business. Morley died too young to reap the full rewards of his enterprise, but his success inspired the publication by his contemporaries of a significant corpus of readily available recreational music for the public. Critical to Morley's successwas his identification of the sort of music, notably the Italianate lighter style of madrigal, that would appeal to amateur musicians. Surviving copies of the original prints show that this music continued to be used for severalgenerations: new editions in modern notation started to appear from the mid eighteenth century onwards, suggesting that Morley truly had the measure of the market for recreational music. Thomas Morley: Elizabethan Music Publisher will be of particular interest to scholars and students of renaissance music, as well as the history of music publishing and print. Tessa Murray is an honorary research fellow at the University of Birmingham.
