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ABSTRACT The largest contemporary manuscript collection of William Byrd's works was assembled by the Norfolk gentleman Edward Paston (1550-1630), whose library included at least fifty sets of partbooks, supplemented by [...]

The figure of the siren serves as a metaphor for human singing and musical femininity in several texts from the sixth to the fourteenth centuries. Bird comparisons enabled medieval writers to signal a mismatch between positive musical features, like attractive song, singer and sound and negative ethical features, like the sin of sweetness as a form of gluttony or lechery, a contrast that seems to be felt acutely in the later Middle Ages.

The origins of Lambeth Choirbook were not known and efforts were made to identify the origins of the choirbook. It was found that there was not enough evidence to associate the Lambeth Choirbook with either Arundel College or Edward Higgons, there appears no reason to believe that Resurrexio Christi was created to be an elevation musical composition and there appear to be no grounds for belief that the Holy Name of Jesus, London had anything to do with Fairfax's creation.

The songs attributed to St. Godric are the earliest English songs to survive with musical notation, which are preserved in manuscripts of the saint's biography. A close examination of the sources has revealed new information about how and why the songs came to be copied in them, and new discoveries about their notation have facilitated new critical editions.

'Tell me, Mr. Wood, are you quite English? Your appearance is rather un-English' (qtd. in Jacobs, Wood 62). Queen Victoria directed this provocative question to the young conductor Henry Wood [...]

The tune L'homme arme is examined and evidence from number symbolism embedded in the song as a product of the Burgundian court milieu is presented. The relationship betw een Du Fay and Symon le Breton is analyzed and clarified.

The author analyzes partbooks from Colchester, England, which serve as part of the town's musical history. The article explores the town's 18th-century musical life, practices, compositions, composers, performers, and the people associated with the creation and documentation of the partbooks.

In 1869, the periodical London Society commented, 'Good society hates scenes, votes every eccentricity of manners and demonstrativeness of demeanour bad form' (quoted in Cominos 1963, 42). This was a [...]

Works written for the English piano by Joseph Haydn are discussed. Topics include action and touch of the English piano, after-ring, the balance between treble and bass, treble tone, basic touch, counter-resonance notation, use of the damper pedal, virtuosity and the grand style.

WHEN Corelli demanded of his pupils that they be able to sustain a forte for ten seconds with a single double-stopped down-bow he was, as any aspiring Baroque violinist knows, [...]

Royal Arbiters of Taste Surveying the events leading up to the November 22, 1963, release of the Beatles' second LP in Britain, Philip Norman writes: 'Never again would pop music [...]

Tallis and Byrd were considered as the parents of English music but during the nineteenth century, while Tallis was considered the 'Father of English Church Music', Byrd's music was relatively forgotten. The article examines the change in attitude that occurred towards the end of the century and to the role of Roman Catholicism in the early twentieth-century Byrd revival.