Book contents
- Compositional Artifice in the Music of Henry Purcell
- Musical Performance and Reception
- Compositional Artifice in the Music of Henry Purcell
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Acknowledgements
- Note on Music Examples
- Abbreviations
- Glossary of Analytical Terms
- Introduction
- Part I Purcell’s ‘Art of Descant’
- Part II ‘Thou dost thy former skill improve’
- Bibliography
- Index of Compositions
- General Index
- References
Bibliography
Published online by Cambridge University Press: 30 September 2019
Book contents
- Compositional Artifice in the Music of Henry Purcell
- Musical Performance and Reception
- Compositional Artifice in the Music of Henry Purcell
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Acknowledgements
- Note on Music Examples
- Abbreviations
- Glossary of Analytical Terms
- Introduction
- Part I Purcell’s ‘Art of Descant’
- Part II ‘Thou dost thy former skill improve’
- Bibliography
- Index of Compositions
- General Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Compositional Artifice in the Music of Henry Purcell , pp. 271 - 283Publisher: Cambridge University PressPrint publication year: 2019
References
Primary Sources
Corelli, Arcangelo, Werke ohne Opuszahl, ed. Marx, Hans Joachim, Arcangelo Corelli: Historische-kritische Gesamtausgabe der musikalischen Werke, v (Cologne: Arno Volk Verlag Hans Gerig KG, 1976).Google Scholar
Corelli, Arcangelo, Complete Violin Sonatas and Trio Sonatas, ed. Joachim, Joseph and Chrysander, Friedrich (originally Les Oeuvres de Arcangelo Corelli, Vols 1–3, London: Augener, 1888–91; repr. New York: Dover, 1992).Google Scholar
Cunningham, John and Holman, Peter, eds, Restoration Trio Sonatas, Purcell Society Edition Companion Series, iv (London: Stainer & Bell, 2012).Google Scholar
Dowland, John, A Pilgrims Solace (1612), Three Songs from A Musical Banquet (1610), ed. Fellowes, Edmund H., rev. Thurston Dart (London: Stainer & Bell, 1969).Google Scholar
Draghi, Giovanni Battista, From Harmony, from Heav’nly Harmony, ed. White, Bryan, Purcell Society Edition Companion Series, iii (London: Stainer & Bell, 2010).Google Scholar
Eccles, John, Rinaldo and Armida, ed. Planck, Steven, Recent Researches in the Music of the Baroque Era, 176 (Middleton, wi: A-R Editions, 2011).Google Scholar
Gibbons, Orlando, Hosanna to the Son of David, ed. Fellowes, Edmund H., rev. edn Anthony Greening (London: Oxford University Press, c. 1976).Google Scholar
Holman, Peter and Cunningham, John, eds, Restoration Trio Sonatas, Purcell Society Edition Companion Series, iv (London: Stainer & Bell, 2012).Google Scholar
Locke, Matthew, Chamber Music II, ed. Tilmouth, Michael, Britannica, Musica, 32 (London: Stainer & Bell, 1977).Google Scholar
Lonati, Carlo Ambrogio, Sonata in D major, ed. Tilmouth, Michael (London: Stainer & Bell, c. 1960).Google Scholar
Lonati, Carlo Ambrogio, Simfonie a 3 [in g, g and A], ed. Allsop, Peter, Italian Seventeenth-Century Instrumental Music, Series i: Rome, i (Crediton: New Orpheus Editions, 1990).Google Scholar
Purcell, Henry, The Prophetess, or the History of Dioclesian (London: the author, 1691).Google Scholar
Purcell, Henry, Orpheus Britannicus, books i and ii, 3rd edn (London: W. Pearson, 1721).Google Scholar
Purcell, Henry, Fantasias for Strings, ed. Mangeot, André, transcrib. Peter Warlock (London: Boosey & Hawkes, 1927).Google Scholar
Purcell, Henry, Fantasien, ed. Just, Herbert, 2 vols (Berlin: Nagels Musik-Archiv,1930–35).Google Scholar
Purcell, Henry, Ten Sonatas in Four Parts, 2 vols, ed. Hogwood, Christopher (London: Ernst Eulenberg, 1978).Google Scholar
Purcell, Henry, A Purcell Anthology: 12 Anthems, ed. Wood, Bruce (Oxford University Press, 1995).Google Scholar
Purcell, Henry, Come ye Sons of Arts, reconstruct. Rebecca Herissone (London: Stainer & Bell, 2010).Google Scholar
The Purcell Society Edition, 32 vols (London: Novello, 1878–1962; rev. edn London: Novello, 1964–2007; Stainer & Bell, 2007–):Google Scholar
The Purcell Society Edition, Vol. 1, Three Occasional Odes, ed. Bruce Wood (Purcell Society Edition, Vol. 1).Google Scholar
The Purcell Society Edition, Vol. 5, Twelve Sonatas of Three Parts, ed. John A. Fuller-Maitland (1893).Google Scholar
The Purcell Society Edition, Vol. 5, Twelve Sonatas of Three Parts, rev. edn, ed. Michael Tilmouth (1976).Google Scholar
The Purcell Society Edition, Vol. 7, Ten Sonatas of Four Parts, ed. Charles Villiers Stanford (1896).Google Scholar
The Purcell Society Edition, Vol. 7, Ten Sonatas of Four Parts, rev. edn, ed. Michael Tilmouth (1981).Google Scholar
The Purcell Society Edition, Vol. 8, Ode on St Cecilia’s Day 1692, rev. edn, ed. Peter Dennison (1978).Google Scholar
The Purcell Society Edition, Vol. 11, Birthday Odes for Queen Mary, Part One, rev. edn, ed. Bruce Wood (1993).Google Scholar
The Purcell Society Edition, Vol. 12, The Fairy Queen, rev. edn, ed. Bruce Wood and Andrew Pinnock (2010).Google Scholar
The Purcell Society Edition, Vol. 17, Sacred Music, Part Three – Seven Anthems with Strings, rev. edn, ed. Lionel Pike (1996).Google Scholar
The Purcell Society Edition, Vol. 19, The Indian Queen, rev. edn, ed. Margaret Laurie and Andrew Pinnock (1994)Google Scholar
The Purcell Society Edition, Vol. 23, Services, ed. Bruce Wood and Margaret Laurie (2013).Google Scholar
The Purcell Society Edition, Vol. 31, Fantazias and Miscellaneous Instrumental Works, ed. Thurston Dart (1959).Google Scholar
The Purcell Society Edition, Vol. 31, Fantazias and Miscellaneous Instrumental Music, rev. edn, ed. Michael Tilmouth (1990).Google Scholar
Taverner, John, ‘Gloria tibi Trinitas’: Mass for Six-Part Unaccompanied Choir, ed. Benham, Hugh (London: Stainer & Bell, c. 1971)Google Scholar
Tomkins, Thomas, Services, ed. Buck, Percy, Fellowes, Edmund H. et al., Tudor Church Music, viii (Oxford University Press, 1928).Google Scholar
Secondary Sources
Ackroyd, Peter, Albion: The Origins of the English Imagination (London: Vintage, 2004).Google Scholar
Adams, Martin, Henry Purcell: The Origins and Development of his Musical Style (Cambridge University Press, 1995).Google Scholar
Addison, Joseph and Steele, Richard, The Spectator (London: [n. pub.], 1711–14), ed. Bond, Donald F., 5 vols (Oxford University Press, 1965).Google Scholar
Allsop, Peter, ‘Problems of Ascription in the Roman Simfonia of the Late Seventeenth Century: Colista and Lonati’, The Music Review, 50/1 (1989), 34–44.Google Scholar
Allsop, Peter, The Italian ‘Trio’ Sonata from its Origins until Corelli (Oxford University Press, 1992).Google Scholar
Allsop, Peter, Arcangelo Corelli: ‘New Orpheus of our Times’ (Oxford University Press, 1999).CrossRefGoogle Scholar
Arnold, Franck Thomas, The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth and XVIIIth Centuries, 2 vols (Oxford University Press, 1931; repr. New York: Dover, 1965).Google Scholar
Ashbee, Andrew, The Harmonious Music of John Jenkins. I: The Fantasia for Viols (London: Toccata, 1992).Google Scholar
Ashbee, Andrew and Holman, Peter, eds, John Jenkins and his Time: Studies in English Consort Music (Oxford University Press, 1996).Google Scholar
Austern, Linda Phyllis, ‘Music and Manly Wit in Seventeenth-Century England: The Case of the Catch’, in Concepts of Creativity in Seventeenth-Century England, ed. Herissone, Rebecca and Alan Howard (Woodbridge: Boydell, 2013), 281–308.Google Scholar
Barnett, Gregory, ‘Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century’, JAMS, 51/2 (1998), 245–81.Google Scholar
Barnett, Gregory, ‘Tonal Organization in Seventeenth-Century Music Theory’, in The Cambridge History of Western Music Theory, ed. Christensen, Thomas (Cambridge University Press, 2002), 407–55.Google Scholar
de Beer, Esmond S., ed., The Diary of John Evelyn, 6 vols (Oxford University Press, 1955).Google Scholar
Bent, Ian, ‘The “Compositional Process” in Music Theory 1713–1850’, Music Analysis, 3/1 (1984), 29–55.Google Scholar
Bent, Margaret, ‘The Grammar of Early Music: Preconditions for Analysis’, in Tonal Structures in Early Music, ed. Judd, Cristle Collins (New York: Garland, 1996), 15–59.Google Scholar
Bevin, Elway, A Briefe and Short Instruction of the Art of Musicke (London: R. Young, 1631).Google Scholar
Blow, John, ‘Rules for Playing of a Thorough Bass, upon Organ & Harpsicon.’ [London, British Library Add. MS 34072, fols 1–5], ed. Arnold, Franck Thomas, in The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth and XVIIIth Centuries, 2 vols (Oxford University Press, 1931; repr. New York: Dover, 1965), i, 163–72.Google Scholar
Bridge, J. Frederick, ‘Purcell’s Fantazias and Sonatas’, Proceedings of the Musical Association, 42 (1915–16), 1–13.Google Scholar
Burden, Michael, ‘The Purcell Phenomenon’, in The Purcell Companion, ed. Burden, Michael (London: Faber & Faber, 1995), 3–17.Google Scholar
Burney, Charles, A General History of Music, from the Earliest Ages until the Present Period (London: the author, 1789), ed. Frank Mercer, 2 vols (New York: Dover, 1957).Google Scholar
Caldwell, John, The Oxford History of English Music, vol. 1: From the Beginnings to c. 1715 (Oxford: Clarendon, 1991).Google Scholar
Campion, François, Traité d’Accompagnement et de Composition selon la Règle des Octaves de la Musique (Paris: [n. pub.], 1716; repr. Geneva: Minkoff, 1976).Google Scholar
Chappell, Vere, ed., The Cambridge Companion to Locke (Cambridge University Press, 1994).Google Scholar
Christensen, Thomas, ‘The “Règle de l’Octave” in Thorough-Bass Theory and Practice’, Acta Musicologica, 64/2 (1992), 91–117.Google Scholar
Cicero, , De Inventione, de Optimo genere oratorum, Topica, trans. Harry M. Hubbell, Loeb Classical Library (London: Heinemann, 1949).Google Scholar
Collier, Jeremy, Essays upon Several Moral Subjects in Two Parts (London: R. Sare and H. Hindmarsh, 1697).Google Scholar
Collins, Denis, ‘“So You Want To Write A Canon?” An Historically-Informed New Approach For The Modern Theory Class’, College Music Symposium, 48 (2008), 108–23.Google Scholar
Collins, Denis, ‘William Byrd’s motets and canonic writing in England’, Context: Journal of Music Research, 33 (2008), 45–65.Google Scholar
Collins, Denis, ‘John Bull’s “Art of Canon” and Plainsong-Based Counterpoint in the Late Renaissance’, in Music Theory and its Methods: Structures, Challenges, Directions, ed. Collins, Denis (Frankfurt am Main: Peter Lang, 2013), 99–127.Google Scholar
Collins, Denis, ‘Palestrina’s Missa Sacerdotes Domini and Analytical Approaches to Renaissance Counterpoint’, in Histories and Narratives of Music Analysis, ed. Zatkalik, Miloš, Medić, Milena and Denis Collins (Newcastle upon Tyne: Cambridge Scholars Publishing, 2013), 120–34.Google Scholar
Cooper, Barry, ‘Problems in the Transmission of Blow’s Organ Music’, ML, 75/4 (1994), 522–47.Google Scholar
Coprario, John, Rules How to Compose [Huntington Library, California, MS EL6863, c. 1610–14], ed. Bukofzer, Manfred F., facs. edn (Los Angeles, ca: Gottlieb, 1952).Google Scholar
Corp, Edward T., ‘The Exiled Court of James II and James III: A Centre of Italian Music in France, 1689–1712’, JAMS, 120/2 (1995), 216–31.Google Scholar
Cumming, Julie E., ‘Composing Imitative Counterpoint around a cantus firmus: Two Motets by Heinrich Isaac’, Journal of Musicology, 28/3 (2011), 231–88.Google Scholar
Cumming, Julie E., ‘From Two-Part Framework to Movable Module’, in Medieval Music in Practice: Studies in Honor of Richard Crocker, ed. Peraino, Judith (Münster: American Institute of Musicology, 2013), 175–214.Google Scholar
Cumming, Julie E. and Schubert, Peter, ‘The Origins of Pervasive Imitation’, in The Cambridge History of Fifteenth-Century Music, ed. Anna Berger, Maria Busse and Jesse Rodin (Cambridge University Press, 2015), 200–28.Google Scholar
Dahlhaus, Carl, ‘Zur Geschichte der Permutationsfuge’, Bach-Jahrbuch, 46 (1959), 95–116.Google Scholar
Dart, Thurston, ‘Purcell’s Chamber Music’, Proceedings of the Royal Musical Association, 85/1 (1958–9), 81–93.Google Scholar
Descartes, René, Renatus Des-Cartes Excellent Compendium of Musick: with Necessary and Judicious Animadversions thereupon. By a Person of Honour [William, Viscount Brouncker; see Herissone, Music Theory, p. 3] (London: T. Harper, 1653).Google Scholar
Dill, Charles, ‘Music, Beauty, and the Paradox of Rationalism’, in French Musical Thought, 1600–1800, ed. Cowart, Georgina (Ann Arbor, mi: UMI Research Press, 1989).Google Scholar
Dixon, Graham, ‘Purcell’s Italianate Circle’, in The Purcell Companion, ed. Burden, Michael (London: Faber & Faber, 1995), 38–51.Google Scholar
Donington, Robert and Dart, Thurston, ‘The Origin of the In Nomine’, ML, 30/2 (1949), 101–6.Google Scholar
Dreyfus, Laurence, Bach and the Patterns of Invention (Cambridge, ma: Harvard University Press, 1996).Google Scholar
Dreyfus, Laurence, ‘Bachian Invention and its Mechanisms’, in The Cambridge Companion to Bach, ed. Butt, John (Cambridge University Press, 1997), 171–92.Google Scholar
Dryden, John, Annus Mirabilis: The Year of Wonders, 1666 (London: Henry Herringman, 1667).Google Scholar
Dryden, John, ‘A Parallel of Poetry and Painting’, in Du Fresnoy, Charles Alphonse, De Arte Graphica, trans. John Dryden (London: W. Rogers, 1695).Google Scholar
Du Fresnoy, Charles Alphonse, Selected Criticism, ed. Kinsley, James and Parfitt, George (Oxford University Press, 1970).Google Scholar
Dubowy, Norbert, ‘Lonati, Carlo Ambrogio’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Duncan, Cheryll, ‘Henry Purcell and the Construction of Identity: Iconography, Heraldry and the Sonnata’s of III Parts (1683)’, EM, 44/2 (2016), 271–88.Google Scholar
Field, Christopher D. S., ‘Consort Music I: Up to 1660’, in The Seventeenth Century, ed. Spink, Ian, The Blackwell History of Music in Britain, iii (Oxford: Blackwell, 1993), 197–244.Google Scholar
Field, Christopher D. S. and Tilmouth, Michael, ‘Consort Music II: From 1660’, in The Seventeenth Century, ed. Spink, Ian, The Blackwell History of Music in Britain, iii (Oxford: Blackwell, 1993), 245–81.Google Scholar
Field, Christopher. D. S. and Tilmouth, Michael, ‘Fantasia: 1. To 1700’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Field, Christopher. D. S. and Wardhaugh, Benjamin, eds, John Birchensha: Writings on Music, Music Theory in Britain, 1500–1700: Critical Editions (Farnham: Ashgate, 2010).Google Scholar
Fisher, Stephen C., ‘Italian Overture’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Ford, Robert, ‘Purcell as His Own Editor: The Funeral Sentences’, Journal of Musicological Research, 7/1 (1986), 47–67.Google Scholar
Garber, Daniel and Ariew, Roger, eds, Descartes in Seventeenth-Century England, 10 vols (Bristol: Thoemmes, 2002).Google Scholar
Gelber, Michael W., The Just and the Lively: The Literary Criticism of John Dryden (University of Manchester Press, 1999).Google Scholar
Gianturco, Carolyn‘Stradella, Alessandro’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Grimshaw, Julian, ‘Sixteenth-Century English Fuga: Sequential and Peak-Note Subjects’, MT, 148 (2007), 61–78.Google Scholar
Grimshaw, Julian, ‘Compositional Phenomena in the Missa Papae Marcelli’, Recercare, 24/1 (2012), 5–33.Google Scholar
Hammond, Paul, ‘Classical Texts: Translations and Transformations’, in The Cambridge Companion to English Literature, 1650–1740, ed. Zwicker, Stephen N. (Cambridge University Press, 1998), 143–61.Google Scholar
Hawkins, John, A General History of the Science and Practice of Music (London: T. Payne, 1776), ed. Cudworth, Charles, 2 vols (New York: Dover, 1963).Google Scholar
Herissone, Rebecca, ‘The Compositional Techniques of Henry Purcell as Revealed Through Autograph Revisions made to his Works’ (unpublished MMus thesis, King’s College, London, 1993).Google Scholar
Herissone, Rebecca, ‘Purcell’s Revisions of his own Works’, in Purcell Studies, ed. Price, Curtis (Cambridge University Press, 1995), 51–86.Google Scholar
Herissone, Rebecca, ‘The Theory and Practice of Composition in the English Restoration Period’ (unpublished PhD thesis, University of Cambridge, 1996).Google Scholar
Herissone, Rebecca, Music Theory in Seventeenth-Century England (Oxford University Press, 2000).Google Scholar
Herissone, Rebecca, ‘“Fowle Originalls” and “Fayre Writeing”: Reconsidering Purcell’s Compositional Process’, The Journal of Musicology, 23/4 (2006), 569–619.CrossRefGoogle Scholar
Herissone, Rebecca, ‘Robert Pindar, Thomas Busby, and the Mysterious Scoring of Henry Purcell’s “Come Ye Sons of Art”’, ML, 88/1 (2007), 1–48.Google Scholar
Herissone, Rebecca, ‘Performance History and Reception’, in The Ashgate Research Companion to Henry Purcell, ed. Herissone, Rebecca (Farnham: Ashgate, 2012), 303–51.Google Scholar
Herissone, Rebecca, Musical Creativity in Restoration England (Cambridge University Press, 2013).Google Scholar
Higney, John, ‘Henry Purcell: A Reception/Dissemination Study, 1695–1771’ (unpublished PhD thesis, University of Western Ontario, 2008).Google Scholar
Hobbes, Thomas, Leviathan, or the Matter, Forme, & Power of a Commonwealth Ecclesiasticall and Civil (London: A. Crooke, 1651), ed. John, C. A. Gaskin (Oxford University Press, 1998).Google Scholar
Holland, Arthur K., Henry Purcell: The English Musical Tradition (London: Bell, 1932).Google Scholar
Holman, Peter, Four and Twenty Fiddlers: The Violin at the English Court, 1540–1690 (Oxford: Clarendon Press, 1993).Google Scholar
Holman, Peter, ‘Consort Music’, in The Purcell Companion, ed. Burden, Michael (London: Faber & Faber, 1995), 254–98.Google Scholar
Holman, Peter, ‘“Evenly, Softly, and Sweetly Acchording to All”: The Organ Accompaniment of English Consort Music’, in John Jenkins and his Time: Studies in English Consort Music, ed. Ashbee, Andrew and Holman, Peter (Oxford University Press, 1996), 353–82.Google Scholar
Holman, Peter, Dowland, Lachrimae (1604), Cambridge Music Handbooks (Cambridge University Press, 1999).Google Scholar
Holman, Peter, ‘Compositional Choices in Henry Purcell’s Three Parts upon a Ground’, EM, 29/2 (2001), 250–61.Google Scholar
Holman, Peter and Thompson, Robert, ‘Purcell: (3) Henry Purcell (ii)’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Holst, Imogen, ed., Henry Purcell, 1659–95: Essays on his Music (London: Oxford University Press, 1959).Google Scholar
Howard, Alan, ‘Purcell and the Poetics of Artifice: Compositional Strategies in the Fantasias and Sonatas’ (unpublished PhD thesis, King’s College, London, 2006).Google Scholar
Howard, Alan, ‘Composition as an Act of Performance: Artifice and Expression in Purcell’s Sacred Part Song Since God so Tender a Regard’, JRMA, 132/1 (2007), 32–59; reprinted in Purcell, ed. Holman, Peter, The Baroque Composers (Farnham: Ashgate, 2011), 353–80.Google Scholar
Howard, Alan, ‘Understanding Creativity’, in The Ashgate Research Companion to Henry Purcell, ed. Herissone, Rebecca (Farnham: Ashgate, 2012), 65–113.Google Scholar
Howard, Alan, ‘Compositional Strategies in Purcell’s Second Three-Part Fantazia’, Music Theory Online, 21 (2015), www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.howard.html.Google Scholar
Howard, Alan, ‘A Midcentury Musical Friendship: Silas Taylor and Matthew Locke’, in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Austern, Linda Phyllis, Bailey, Candace and Winkler, Amanda Eubanks (Bloomington, in: Indiana University Press, 2017), 127–49.Google Scholar
Howard, Alan, ‘A New Purcell “Borrowing” from Orlando Gibbons’, paper delivered at the 2014 Biennial Conference on Baroque Music (Queen’s University, Belfast, 30 June–4 July 2010.Google Scholar
Hurley, David Ross, Handel’s Muse: Patterns of Creation in his Oratorios and Musical Dramas, 1743–1751 (Oxford University Press, 2000).Google Scholar
Hutton, Ronald, The Rise and Fall of Merry England: The Ritual Year, 1400–1700 (Oxford University Press, 1994).Google Scholar
Johnson, Douglas, ‘Beethoven Scholars and Beethoven’s Sketches’, Nineteenth-Century Music, 2/1 (1978), 3–17.Google Scholar
Kassler, Jamie C., The Beginnings of the Modern Philosophy of Music in England: Francis North’s A philosophical essay of musick (1677) with comments of Isaac Newton, Roger North and in the Philosophical Transactions (Aldershot: Ashgate, 2004).Google Scholar
Kerman, Joseph, ‘Byrd, Tallis, and the Art of Imitation’, in Aspects of Medieval and Renaissance Music, ed. LaRue, Jan (New York: Pendragon, 1966), 519–37.Google Scholar
Kolneder, Walter, ‘Der Generalbass in der Triosonaten von Purcell’, in Heinrich Schütz e il suo Tempo [Atti del 1°Convegno Internazionale di Studi, Urbino, 26–31 Iuglio 1978], ed. Rostirolla, Giancarlo (Rome: Società Italiana del Flauto Dolce, 1981), 281–99.Google Scholar
Lamprecht, Sterling P., ‘The Role of Descartes in Seventeenth-Century England’, Studies in the History of Ideas, 3 (1935), 179–240.Google Scholar
Lester, Joel, ‘The Recognition of Major and Minor Keys in German Theory: 1680–1730’, Journal of Music Theory, 22/1 (1978), 65–103.Google Scholar
Lester, Joel, Between Modes and Keys: German Theory, 1592–1802 (Stuyvesant, ny: Pendragon Press, 1989).Google Scholar
Lester, Joel, Compositional Theory in the Eighteenth Century (Cambridge, ma: Harvard University Press, 1992).Google Scholar
Locke, John, Essay Concerning Humane Understanding, ed. Yolton, John W., 2 vols (London: Dent, 1961).Google Scholar
Locke, John, Second Treatise of Government, ed. MacPherson, C. B. (Indianapolis, in: Hackett, 1980).Google Scholar
Locke, Matthew, Melothesia; or, Certain General Rules for Playing upon a Continued-Bass (London: J. Carr, 1673).Google Scholar
Love, Harold, ‘Constructing Classicism: Dryden and Purcell’, in John Dryden: Tercentenary Essays, ed. Hammond, Paul and David Hopkins (Oxford University Press, 2000), 92–112.Google Scholar
Luckett, Richard, ‘“Or rather our musical Shakspeare”: Charles Burney’s Purcell’, in Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, ed. Hogwood, Christopher and Luckett, Richard (Cambridge University Press, 1983), 59–77.Google Scholar
Mabbett, Margaret, ‘Italian Musicians in Restoration England (1660–90)’, ML, 67/3 (1986), 237–47.Google Scholar
Marshall, Robert Lewis, The Compositional Process of J. S. Bach (Princeton University Press, 1972).Google Scholar
Marvell, Andrew, An Account of the Growth of Popery and Arbitrary Government in England (1677), facs. edn (Farnborough: Gregg International, 1971).Google Scholar
McCrickard, Eleanor, ‘The Roman Repertory for Violin before the time of Corelli’, EM, 18/4 (1990), 563–73.Google Scholar
McGuinness, Rosamond, ‘The Ground Bass in the English Court Ode’, ML, 51/3 (1970), 118–40 and 265–78.Google Scholar
Mellers, Wilfrid, ‘The Heroism of Henry Purcell: Music and Politics in Restoration England’, in Music and the Politics of Culture, ed. Norris, Christopher (London: Lawrence & Wishart, 1989), 20–40.Google Scholar
Meyer, Ernst Hermann, Early English Chamber Music: From the Middle Ages to Purcell (as English Chamber Music, London: Lawrence & Wishart, 1946; rev. edn 1982).Google Scholar
Milsom, John, ‘Analysing Josquin’, in The Josquin Companion, ed. Sherr, Richard (Oxford University Press, 2000), 431–84.Google Scholar
Milsom, John, ‘Crecquillon, Clemens, and four-voice fuga’, in Beyond Contemporary Fame: Reassessing the Art of Clemens non Papa and Thomas Crequillon, ed. Jas, Eric (Turnhout: Brepols, 2005), 293–345.Google Scholar
Milsom, John, ‘“Imitatio”, “Intertextuality” and Early Music’, in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Clark, Suzannah and Elizabeth Eva Leach (Woodbridge: Boydell, 2006), 141–51.Google Scholar
Milsom, John, ‘Josquin and the Combinative Impulse’, in The Motet around 1500: On the Relationship of Imitation and Text Treatment?, ed. Schmidt-Beste, Thomas (Turnhout: Brepols, 2012), 211–46.Google Scholar
Milsom, John, ‘Cipriano’s Flexed Fuga’, in Cipriano da Rore: New Perspectives on His Life and Music, ed. Owens, Jessie Ann and Katelijne Schiltz (Turnhout: Brepols, 2016), 293–329.Google Scholar
Milsom, John, ‘Style and Idea in Josquin’s Cueur langoreulx’, Journal of the Alarime Foundation, 8/1 (2016), 77–91.Google Scholar
Monroe, Mary, ‘From “English Vein” to “Italian Notes”: The Stylistic Evolution of Purcell’s Chamber Music for Strings’ (unpublished PhD thesis, Columbia University, 1994).Google Scholar
Morley, Thomas, A Plaine and Easie Introduction to Practicall Musick (London: P. Short, 1597).Google Scholar
Morris, Stephen, ‘William Young’s Fantazias a 3, by Another Name, Still Sound as Sweet … ’, Journal of the Viola da Gamba Society of America, 41 (2004), 5–35.Google Scholar
Neighbour, Oliver, The Consort and Keyboard Music of William Byrd (London: Faber & Faber, 1978).Google Scholar
Oddie, Jonathan, ‘Counterpoint, “Fuge”, and “Air” in the Instrumental Music of Orlando Gibbons’ (unpublished DPhil thesis, University of Oxford, 2016).Google Scholar
Owens, Jessie Ann, ‘The Milan Partbooks: Evidence of Cipriano de Rore’s Compositional Process’, JAMS, 37/2 (1984), 270–98.Google Scholar
Owens, Jessie Ann, ‘Concepts of Pitch in English Music Theory, c. 1560–1640’, in Tonal Structures in Early Music, ed. Judd, Cristle Collins (New York: Garland, 1998), 183–246.Google Scholar
Owens, Jessie Ann, ‘“El foglio rigato” Revisited: Prepared Paper in Musical Composition’, in Uno gentile et subtile ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn, ed. Jennifer Bloxam, M., Filocamo, Gioia and Leofranc Holford-Strevens (Turnhout: Brepols, 2009), 53–61.Google Scholar
Penna, Lorenzo, Li Primi Albori Musicale (1672), facs. of 1684 edn (Bologna: Forni, 1969).Google Scholar
A Poem Occasioned on the Death of Mr. Henry Purcell, late Musician-in-Ordinary to his Majesty […] By a Lover of Music (London: J. Whitlock, 1696).Google Scholar
Price, Curtis A., Henry Purcell and the London Stage (Cambridge University Press, 1984).Google Scholar
Price, Curtis A., The Early Baroque Era, ed. Sadie, Stanley, Man and Music (London: Macmillan, 1993).Google Scholar
Price, Curtis A., ‘New Light on Purcell’s Keyboard Music’, in Purcell Studies, ed. Price, Curtis (Cambridge University Press, 1995), 87–93.Google Scholar
Purcell, Henry, ‘A Brief Introduction to the Art of Descant’, in Playford, John, An Introduction to the Skill of Music, 12th edn (London: Henry Playford, 1694), 85–143.Google Scholar
Rifkin, Joshua, ‘Miracles, Motivicity, and Mannerism: Adrian Willaert’s Videns Dominus flentes sorores Lazari and some Aspects of Motet Composition in the 1520s’, in Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Pesce, Dolores (New York: Oxford University Press, 1997), 243–64.Google Scholar
Sanguinetti, Giorgio, The Art of Partimento: History, Theory, and Practice (Oxford University Press, 2012).Google Scholar
Schab, Alon, The Sonatas of Henry Purcell: Rhetoric and Reversal (University of Rochester Press, 2018).Google Scholar
Scheibe, Johann A., Critischer Musikus (Leipzig, 1745; facs. Hildesheim: Georg Olms, 1970).Google Scholar
Schubert, Peter, ‘Counterpoint Pedagogy in the Renaissance’, in The Cambridge History of Western Music Theory, ed. Christensen, Thomas (Cambridge University Press, 2002), 503–33.Google Scholar
Schubert, Peter, ‘Hidden Forms in Palestrina’s First Book of Four-Voice Motets’, JAMS, 60/3 (2007), 483–556.Google Scholar
Schubert, Peter, ‘Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet’, Music Theory Online, 24/1 (2018), http://mtosmt.org/issues/mto.18.24.1/mto.18.24.1.schubert.html.Google Scholar
Schubert, Peter and Cumming, Julie E., ‘The Origins of Pervasive Imitation’, in The Cambridge History of Fifteenth-Century Music, ed. Busse Berger, Anna Maria and Rodin, Jesse (Cambridge University Press, 2015), 200–228.Google Scholar
Schubert, Peter and Lessoil-Daelman, Marcelle, ‘What Modular Analysis Can Tell Us About Musical Modeling in the Renaissance’, Music Theory Online, 19/1 (2013), http://mtosmt.org/issues/mto.13.19.1/mto.13.19.1.schubert_lessoil-daelman.html.Google Scholar
Scott, Jonathan, England’s Troubles: Seventeenth-Century English Political Instability in European Context (Cambridge University Press, 2000).Google Scholar
Selfridge-Field, Eleanor, ‘Instrumentation and Genre in Italian Music, 1600–1670’, EM, 19/1 (1991), 61–7.Google Scholar
Shaw, Watkins and Ford, Robert, ‘Gostling, John’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Shay, Robert S., ‘Henry Purcell and “Ancient” Music in Restoration England’ (unpublished PhD thesis, University of North Carolina, Chapel Hill, 1991).Google Scholar
Shay, Robert S., ‘Purcell as Collector of “Ancient” Music: Fitzwilliam MS 88’, in Purcell Studies, ed. Price, Curtis (Cambridge University Press, 1995), 35–50.Google Scholar
Shay, Robert S., ‘Purcell’s Revisions to the Funeral Sentences Revisited’, EM, 26/3 (1998), 457–67.Google Scholar
Shay, Robert S. and Thompson, Robert, Purcell Manuscripts: The Principal Musical Sources (Cambridge University Press, 2000).Google Scholar
Sietz, Reinhold, Henry Purcell: Zeit – Leben – Werk (Leipzig: Breitkopf & Härtel, 1955).Google Scholar
Smith, David J., ‘Continuity, Change and the Emergence of Idiomatic Organ Repertoire in Seventeenth-Century England’, in Studies in English Organ Music, ed. Quinn, Ian (London: Routledge, 2018), 122–41.Google Scholar
Smithers, Don L., The Music and History of the Baroque Trumpet before 1721 (London: Dent, 1973).Google Scholar
Soo, Lydia M., Wren’s ‘Tracts’ on Architecture and Other Writings (Cambridge University Press, 1998).Google Scholar
Spink, Ian, ‘Music and Society’, in The Seventeenth Century, ed. Spink, Ian, The Blackwell History of Music in Britain, iii (Oxford: Blackwell, 1993), 1–65.Google Scholar
Talbot, Michael, Tomaso Albinoni: The Venetian Composer and his World (Oxford University Press, 1990).Google Scholar
Talbot, Michael, Benedetto Vinaccesi: A Musician in Brescia and Venice in the Age of Corelli (Oxford: Clarendon, 1994).Google Scholar
Talbot, Michael, ‘Vivaldi and the “Violino in tromba marina”’, The Consort, 61 (2005), 5–17.Google Scholar
Talbot, Michael, ‘Corelli, Arcangelo’, in Grove Music Online, www.oxfordmusiconline.com.Google Scholar
Temperley, Nicholas, ‘The Origins of the Fuging Tune’, Royal Musical Association Research Chronicle, 17 (1981), 1–32.Google Scholar
Theile, Johann, Musikalisches Kunstbuch, ed. Carl Dahlhaus, Denkmäler norddeutscher Musik, i (Kassel: Bärenreiter, 1965).Google Scholar
Thompson, Robert, ‘Purcell’s Great Autographs’, in Purcell Studies, ed. Price, Curtis (Cambridge University Press, 1995), 6–34.Google Scholar
Thompson, Robert, ‘Sources and Transmission’, in The Ashgate Research Companion to Henry Purcell, ed. Herissone, Rebecca (Farnham: Ashgate, 2012), 13–63.Google Scholar
Thompson, Robert and Shay, Robert S., Purcell Manuscripts: The Principal Musical Sources (Cambridge University Press, 2000).Google Scholar
Tilmouth, Michael, ‘The Technique and Forms of Purcell’s Sonatas’, ML, 40/4 (1959), 109–21.Google Scholar
Tilmouth, Michael and Christopher, D. S. Field, ‘Consort Music II: From 1660’, in The Seventeenth Century, ed. Spink, Ian, The Blackwell History of Music in Britain, iii (Oxford: Blackwell, 1993), 245–81.Google Scholar
Van Tour, Peter, Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples (University of Uppsala, 2015).Google Scholar
Tyson, Alan, Mozart: Studies of the Autograph Scores (Cambridge, ma: Harvard University Press, 1987).Google Scholar
Walker, Paul Mark, ‘The Origin of the Permutation Fugue’, in The Creative Process, Studies in the History of Music, iii (New York: Broude Brothers, 1992), 51–91.Google Scholar
Walker, Paul Mark, Theories of Fugue from the Age of Josquin to the Age of Bach (University of Rochester Press, 2000).Google Scholar
Walls, Peter, ‘The Influence of the Italian Violin School in 17th-Century England’, EM, 18/4 (1990), 575–87.Google Scholar
Wardhaugh, Benjamin, ed., Thomas Salmon: Writings on Music, 2 vols (Farnham: Ashgate, 2013).Google Scholar
Wardhaugh, Benjamin and Christopher, D. S. Field, eds, John Birchensha: Writings on Music, Music Theory in Britain, 1500–1700: Critical Editions (Farnham: Ashgate, 2010).Google Scholar
Weidner, Robert, ‘The Early In Nomine: A Genesis of Chamber Music’ (unpublished PhD dissertation, University of Rochester, 1960).Google Scholar
Wessely-Kropik, Helene, ‘Henry Purcell als Instrumentalkomponist’, Studien zur Musikwissenschaft. Beihefte der ‘Denkmäler der Tonkunst in Österreich’, 22 (1955), 85–141.Google Scholar
White, Bryan, Music for St Cecilia’s Day from Purcell to Handel (Woodbridge: Boydell & Brewer, 2019).Google Scholar
Wienpahl, Robert W., ‘English Theorists and Evolving Tonality’, ML, 36/4 (1955), 377–93.Google Scholar
Winemiller, John T., ‘Recontextualizing Handel’s Borrowing’, Journal of Musicology, 15/4 (1997), 444–70.Google Scholar
Wing, Donald G., Short-title catalogue of books printed in England, Scotland, Ireland, Wales, and British America and of English books printed in other countries 1641–1700, ed. Crist, Timothy J. (vol. 2) and Morrison, John J. (vol. 3), 2nd rev. and enlarged edn, 3 vols (New York: Modern Language Association of America, 1972–88).Google Scholar
Wintle, Christopher, ‘Corelli’s Tonal Models: The Trio Sonata Op. III, n. 1’, in Nuovissimi Studi Corelliani III, ed. Durante, Sergio and Petrobelli, Pierluigi (Florence: Olschki, 1982), 29–69.Google Scholar
Wood, Bruce, ‘Only Purcell e’re shall Equal Blow’, in Purcell Studies, ed. Price, Curtis (Cambridge University Press, 1995), 106–44.Google Scholar
Wood, Bruce, Purcell: An Extraordinary Life (London: Associated Board of the Royal Schools of Music, 2009).Google Scholar
Youngren, William H., ‘Addison and the Birth of Eighteenth-Century Aesthetics’, Modern Philology, 79/3 (1982), 267–83.Google Scholar
Zimmerman, Franklin B., Henry Purcell, 1659–1695: An Analytical Catalogue of his Music (London: Macmillan, 1963).Google Scholar
Zimmerman, Franklin B., Henry Purcell, 1659–1695: His Life and Times (London: Macmillan, 1967).Google Scholar
Zwicker, Steven N., ed., The Cambridge Companion to English Literature, 1650–1740 (Cambridge University Press, 1995).Google Scholar