English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.
Arvustused
"At its core, this collection is a timely critique of the linguistic state of its field."Notes
| Acknowledgments |
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ix | |
| Note on Transcription |
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xi | |
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List of Abbreviations and Library Sigla |
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xiii | |
| Introduction: Rethinking Boundaries in Musical Practice and Circulation |
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1 | (12) |
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1 Tudor Musical Theater: Sounds of Religious Change in Ralph Roister Doister |
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13 | (15) |
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2 English Jesuit Missionaries, Music Education, and the Musical Participation of Women in Devotional Life in Recusant Households from ca. 1580 to ca. 1630 |
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28 | (14) |
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3 The Transmission of Lute Music and the Culture of Aurality in Early Modern England |
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42 | (12) |
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4 Thomas Campion's "Superfluous Blossomes of His Deeper Studies": The Public Realm of His English Ayres |
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54 | (13) |
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5 Oyez! Fresh Thoughts about the "Cries of London" Repertory |
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67 | (12) |
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6 "Locks, Bolts, Barres, and Barricados": Song Performance, Gender, and Spatial Production in Richard Brome's The Northern Lass |
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79 | (17) |
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7 "Lasting-Pasted Monuments": Memory, Music, Theater, and the Seventeenth-Century English Broadside Ballad |
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96 | (18) |
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8 The Challenge of Domesticity in Men's Manuscripts in Restoration England |
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114 | (13) |
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9 A Midcentury Musical Friendship: Silas Taylor and Matthew Locke |
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127 | (23) |
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10 Music and Merchants in Restoration London |
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150 | (15) |
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11 Daniel Henstridge and the Aural Transmission of Music in Restoration England |
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165 | (22) |
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12 Courtly Connections: Queen Anne, Music, and the Public Stage |
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187 | (20) |
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13 Disseminating and Domesticating Handel in Mid-Eighteenth-Century Britain |
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207 | (16) |
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14 From London's Opera House to the Salon? The Favourite (and Not So "Favourite") Songs from the King's Theatre |
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223 | (15) |
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15 Education, Entertainment, Embellishment: Music Publication in the Lady's Magazine |
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238 | (19) |
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| Selected Bibliography |
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257 | (42) |
| List of Contributors |
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299 | (6) |
| Index |
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305 | |
Linda Phyllis Austern is Associate Professor of Musicology at Northwestern University. She is author of Music in English Children's Drama of the Later Renaissance, editor of Music, Sensation and Sensuality, editor (with Inna Naroditskaya) of Music of the Sirens, and (with Kari Boyd McBride and David Orvis) of Psalms in the Early Modern World. Candace Bailey is Professor of Music History at North Carolina Central University. She is the author of Music and the Southern Belle: From Accomplished Lady to Confederate Composer and Seventeenth-Century British Keyboard Sources.
Amanda Eubanks Winkler is Associate Professor of Music History and Cultures at Syracuse University and author of O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage.
