In late 17th- and early 18th-century London, English versions of the comédies-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted the rhythm, rhyme and song of the French plays, which is why most of Lully’s tunes seem to have been lost in translation, replaced by newly composed songs. Focusing on Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672), this article examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel—and it also reveals that Ravenscroft must have been able to draw on eyewitness accounts of Lully as an on-stage performer in Le Bourgeois gentilhomme (1670). An Appendix briefly considers 18th-century revivals of Le Bourgeois gentilhomme and its ‘Turkish Ceremony’ in London.
{"title":"Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)","authors":"Hanna Walsdorf","doi":"10.1093/em/caae030","DOIUrl":"https://doi.org/10.1093/em/caae030","url":null,"abstract":"In late 17th- and early 18th-century London, English versions of the comédies-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted the rhythm, rhyme and song of the French plays, which is why most of Lully’s tunes seem to have been lost in translation, replaced by newly composed songs. Focusing on Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672), this article examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel—and it also reveals that Ravenscroft must have been able to draw on eyewitness accounts of Lully as an on-stage performer in Le Bourgeois gentilhomme (1670). An Appendix briefly considers 18th-century revivals of Le Bourgeois gentilhomme and its ‘Turkish Ceremony’ in London.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"7 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142180063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The state of the Teutonic Order in Prussia, or Ordensstaat (1228–1525), belongs to those ‘vanished kingdoms’ which—devoid of any contemporary heirs—remain on the margins of historical narratives about music. The aim of this article is to describe polyphonic practices in medieval Prussia on the basis of archival and musical sources. Although the information they contain is of a fragmentary character, referring mainly to the first half of the 15th century, it does indicate that a variety of music was cultivated: from simply polyphony in chant notation to international Ars Nova. Outside the major ecclesiastic centres, conditions for the cultivation of polyphony could have existed at the court of the Grand Master, at which musicians—mostly instrumentalists—from across Europe appeared. Particular attention is devoted in the article to fragments from the Gdańsk Library of the Polish Academy of Sciences (Ms. 2153a) which contain works in the style of Central European polyphony, belonging to the genres of motet, cantio and rotulum. These and other sources indicate that the culture of medieval Prussia should be seen from the perspective of various European connections, and not as Germanic or Polish culture, as has often occurred in the past.
{"title":"Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia","authors":"Paweł Gancarczyk","doi":"10.1093/em/caae026","DOIUrl":"https://doi.org/10.1093/em/caae026","url":null,"abstract":"The state of the Teutonic Order in Prussia, or Ordensstaat (1228–1525), belongs to those ‘vanished kingdoms’ which—devoid of any contemporary heirs—remain on the margins of historical narratives about music. The aim of this article is to describe polyphonic practices in medieval Prussia on the basis of archival and musical sources. Although the information they contain is of a fragmentary character, referring mainly to the first half of the 15th century, it does indicate that a variety of music was cultivated: from simply polyphony in chant notation to international Ars Nova. Outside the major ecclesiastic centres, conditions for the cultivation of polyphony could have existed at the court of the Grand Master, at which musicians—mostly instrumentalists—from across Europe appeared. Particular attention is devoted in the article to fragments from the Gdańsk Library of the Polish Academy of Sciences (Ms. 2153a) which contain works in the style of Central European polyphony, belonging to the genres of motet, cantio and rotulum. These and other sources indicate that the culture of medieval Prussia should be seen from the perspective of various European connections, and not as Germanic or Polish culture, as has often occurred in the past.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"84 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142180064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer’s original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin’s original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo, which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript’s date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions.
乔斯昆-德-普雷兹（Josquin des Prez）的圣歌《Huc me sydereo》有五声部和六声部两种版本，曾引起学者们对哪种版本才是作曲家原作的争论。权威的《新乔斯昆版》（New Josquin Edition）以六声部版本介绍了这首主题曲；编辑邦妮-布莱克本（Bonnie Blackburn）在评论中将其视为乔斯昆的原作。最近，约书亚-里夫金（Joshua Rifkin）从文体和源流批判的角度证明，五声部版本是原版，第六声部是后来添加的。在本文中，我介绍了对圣加仑 464 号手稿的新发现，该手稿是《Huc me sydereo》的重要早期资料来源，它加强了为五声部版本的真实性辩护的论据。我的研究表明，第六声部的起源可以归结为 15 世纪 10 年代意大利半岛的三组资料，从而排除了乔斯昆作为作者的可能性。此外，通过对圣加仑 464 号手稿的原始抄写员和所有者的新鉴定，我对该手稿的日期和出处有了新的了解。在此过程中，我展示了对音乐来源和传承的研究如何对重要的演出决策产生直接影响。
{"title":"More on the scoring of Josquin’s Huc me sydereo and the manuscript St Gallen 464","authors":"Brett Kostrzewski","doi":"10.1093/em/caae005","DOIUrl":"https://doi.org/10.1093/em/caae005","url":null,"abstract":"The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer’s original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin’s original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo, which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript’s date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"56 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141872424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The received biography available for the English composer John Sheppard (c.1514 – late 1558 or early 1559) is amenable to clarification at a number of points. He was employed as Master of the Choristers at Magdalen College, Oxford, for just a single spell, September 1543 to early 1548. The available evidence suggests that he proceeded thence directly to admission to the Chapel Royal. He had no further contact with Magdalen College; an instance of kidnap and confinement perpetrated in 1555 that is commonly attributed to him was instead committed by one Richard Sheparde/Sheper/Sheprey, a fellow of the college. Despite being only an imperfect draft, his ‘will’ of 1 December 1558 reveals much about his family circumstances at Westminster. He died between 1 December 1558 and 31 January 1559; the actual date must be reconcilable with expectation of his attendance at Queen Elizabeth’s coronation on 15 January 1559, as recorded on a list compiled not earlier than 15 December 1558.
{"title":"John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification","authors":"Roger Bowers","doi":"10.1093/em/caad033","DOIUrl":"https://doi.org/10.1093/em/caad033","url":null,"abstract":"The received biography available for the English composer John Sheppard (c.1514 – late 1558 or early 1559) is amenable to clarification at a number of points. He was employed as Master of the Choristers at Magdalen College, Oxford, for just a single spell, September 1543 to early 1548. The available evidence suggests that he proceeded thence directly to admission to the Chapel Royal. He had no further contact with Magdalen College; an instance of kidnap and confinement perpetrated in 1555 that is commonly attributed to him was instead committed by one Richard Sheparde/Sheper/Sheprey, a fellow of the college. Despite being only an imperfect draft, his ‘will’ of 1 December 1558 reveals much about his family circumstances at Westminster. He died between 1 December 1558 and 31 January 1559; the actual date must be reconcilable with expectation of his attendance at Queen Elizabeth’s coronation on 15 January 1559, as recorded on a list compiled not earlier than 15 December 1558.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"28 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Byrd published his famous eight ‘Reasons briefely set down by th’auctor, to perswade every one to learne to sing’ in his 1588 Psalmes, sonets and songs. The most important reason to learn to sing, according to Byrd, is that ‘it is a knowledge easely taught, and quickly learned, wher there is a good Master, and an apt Scoler’. The ‘knowledge’ of which Byrd speaks is not only the mechanics of singing but also, or perhaps chiefly, the musical knowledge necessary to sing: the rudiments of musical literacy. This article unpacks Byrd’s claims about music education in Tudor England, placing them in the context of print culture and educational practices. It first considers the options for music education available to different social classes and genders, then turns to close study of music theory treatises and other music educational texts printed in 16th-century England. I examine how these printed materials discussed their own role in the process of educating readers, and interrogate their prevailing claims that gaining musical literacy is ‘plain’ and ‘easie’, and possible ‘without any other help saving this booke’.
{"title":"‘A knowledge easely taught, and quickly learned’: learning to sing in Byrd’s England","authors":"Samantha Arten","doi":"10.1093/em/caad051","DOIUrl":"https://doi.org/10.1093/em/caad051","url":null,"abstract":"William Byrd published his famous eight ‘Reasons briefely set down by th’auctor, to perswade every one to learne to sing’ in his 1588 Psalmes, sonets and songs. The most important reason to learn to sing, according to Byrd, is that ‘it is a knowledge easely taught, and quickly learned, wher there is a good Master, and an apt Scoler’. The ‘knowledge’ of which Byrd speaks is not only the mechanics of singing but also, or perhaps chiefly, the musical knowledge necessary to sing: the rudiments of musical literacy. This article unpacks Byrd’s claims about music education in Tudor England, placing them in the context of print culture and educational practices. It first considers the options for music education available to different social classes and genders, then turns to close study of music theory treatises and other music educational texts printed in 16th-century England. I examine how these printed materials discussed their own role in the process of educating readers, and interrogate their prevailing claims that gaining musical literacy is ‘plain’ and ‘easie’, and possible ‘without any other help saving this booke’.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"70 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Female-voice song before 1500","authors":"Elizabeth Eva Leach","doi":"10.1093/em/caad057","DOIUrl":"https://doi.org/10.1093/em/caad057","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"51 20","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139385772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The wreck of the frigate Gloucester off Norfolk on 6 May 1682 has always figured in histories of the Restoration period; it was taking James, Duke of York (the future James II and VII) to Edinburgh to collect his wife Mary of Modena and his daughter Princess Anne after his years of exile in Scotland. It has long been known that there were royal musicians on board, two of whom were drowned, though interest in the subject has been rekindled by the discovery of the wreck and an exhibition of artefacts from it in Norwich in 2023. Some other historic wrecks have proved to contain musical instruments, including the Mary Rose and several Dutch ships, though the Gloucester is unique in that a musical artefact—a brass trumpet mouthpiece—can be matched to documentary evidence concerning the musicians on board. Court documents concerned with replacing lost instruments and compensating survivors and the families of victims show that those on board included four royal trumpeters and a kettledrummer (Walter Vanbright, who was drowned); a five-man group drawn from the Twenty-Four Violins, led by the composer Thomas Farmer and including Thomas Greeting (who was also drowned); and the oboist, recorder player and bass violinist James Paisible, who had apparently been working in Edinburgh in the Duke of York’s household. Paisible may have been a member of Farmer’s string group, though there is a possibility that he was accompanied by three other French musicians, forming a separate recorder/oboe consort. An anecdote concerning James rescuing the string player Edmund Flower from drowning throws light on the musical and religious politics on board the Gloucester: the earliest version, published in 1730, claimed wrongly that the duke ‘turn’d him out of his band because he would not turn Papist’.
{"title":"The wreck of the Gloucester revisited","authors":"Peter Holman","doi":"10.1093/em/caad060","DOIUrl":"https://doi.org/10.1093/em/caad060","url":null,"abstract":"The wreck of the frigate Gloucester off Norfolk on 6 May 1682 has always figured in histories of the Restoration period; it was taking James, Duke of York (the future James II and VII) to Edinburgh to collect his wife Mary of Modena and his daughter Princess Anne after his years of exile in Scotland. It has long been known that there were royal musicians on board, two of whom were drowned, though interest in the subject has been rekindled by the discovery of the wreck and an exhibition of artefacts from it in Norwich in 2023. Some other historic wrecks have proved to contain musical instruments, including the Mary Rose and several Dutch ships, though the Gloucester is unique in that a musical artefact—a brass trumpet mouthpiece—can be matched to documentary evidence concerning the musicians on board. Court documents concerned with replacing lost instruments and compensating survivors and the families of victims show that those on board included four royal trumpeters and a kettledrummer (Walter Vanbright, who was drowned); a five-man group drawn from the Twenty-Four Violins, led by the composer Thomas Farmer and including Thomas Greeting (who was also drowned); and the oboist, recorder player and bass violinist James Paisible, who had apparently been working in Edinburgh in the Duke of York’s household. Paisible may have been a member of Farmer’s string group, though there is a possibility that he was accompanied by three other French musicians, forming a separate recorder/oboe consort. An anecdote concerning James rescuing the string player Edmund Flower from drowning throws light on the musical and religious politics on board the Gloucester: the earliest version, published in 1730, claimed wrongly that the duke ‘turn’d him out of his band because he would not turn Papist’.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sociable music-making from notation had become a marker of status by the time of Byrd’s and Weelkes’s printed anthologies of part-songs. However, there was ambivalence about its suitability for gentlemen in a time when ideas of manhood were undergoing redefinition and when both gender and class were reinforced through display. Men of wealth and leisure were encouraged to balance musical recreation with more physically or intellectually demanding pursuits, not let it distract from necessary obligations nor be used for excessive devotion to women. Performing music among same-sex social equals in the context of other pastimes satisfied these conditions and reinforced friendship, collaboration, healthy competition and gamesmanship. Part-songs suggesting such strenuous cooperative ventures as warfare and hunting especially bridged the gentlemen’s domains of action and intellect. Single-sex performance also provided an opportunity to contest yet reinforce masculine ideals and to play a range of gender roles among social intimates, especially through compositions which encoded notions of manliness and effeminacy or which bridged the sensory domains of sight and sound.
{"title":"‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes","authors":"Linda Phyllis Austern","doi":"10.1093/em/caad061","DOIUrl":"https://doi.org/10.1093/em/caad061","url":null,"abstract":"Sociable music-making from notation had become a marker of status by the time of Byrd’s and Weelkes’s printed anthologies of part-songs. However, there was ambivalence about its suitability for gentlemen in a time when ideas of manhood were undergoing redefinition and when both gender and class were reinforced through display. Men of wealth and leisure were encouraged to balance musical recreation with more physically or intellectually demanding pursuits, not let it distract from necessary obligations nor be used for excessive devotion to women. Performing music among same-sex social equals in the context of other pastimes satisfied these conditions and reinforced friendship, collaboration, healthy competition and gamesmanship. Part-songs suggesting such strenuous cooperative ventures as warfare and hunting especially bridged the gentlemen’s domains of action and intellect. Single-sex performance also provided an opportunity to contest yet reinforce masculine ideals and to play a range of gender roles among social intimates, especially through compositions which encoded notions of manliness and effeminacy or which bridged the sensory domains of sight and sound.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"7 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138561504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Medieval and Renaissance Music Conference in Munich","authors":"Johanna-Pauline Thöne, James R Tomlinson","doi":"10.1093/em/caad058","DOIUrl":"https://doi.org/10.1093/em/caad058","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"3 11","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138585550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The known musical career of John Sheppard spans just 15 years. In 1543, when he was probably still in his late twenties, he was appointed informator choristarum of Magdalen College, Oxford. At his death in 1558, at about the age of 43, he was a Gentleman of the Chapel Royal, perhaps having been appointed on leaving Oxford in 1548. A recent article draws attention to the fact that, early in the reign of Queen Mary, Sheppard and his family were involved in a legal action concerning a group of properties in the parish of St Clement Danes, Middlesex. Deeper investigation of this dispute reveals where Sheppard’s geographical ties lay shortly before his Oxford appointment. It allows us to pinpoint with a high degree of confidence when and where his first marriage took place and to understand a little of the young couple’s circumstances. A separate action, in which he appeared as a joint plaintiff with his Chapel Royal colleague Luke Caustell, is less revealing, but potentially points to a connection with the same geographical region of England.
{"title":"John Sheppard and the Ewens: a closer look","authors":"Jason Smart","doi":"10.1093/em/caad030","DOIUrl":"https://doi.org/10.1093/em/caad030","url":null,"abstract":"The known musical career of John Sheppard spans just 15 years. In 1543, when he was probably still in his late twenties, he was appointed informator choristarum of Magdalen College, Oxford. At his death in 1558, at about the age of 43, he was a Gentleman of the Chapel Royal, perhaps having been appointed on leaving Oxford in 1548. A recent article draws attention to the fact that, early in the reign of Queen Mary, Sheppard and his family were involved in a legal action concerning a group of properties in the parish of St Clement Danes, Middlesex. Deeper investigation of this dispute reveals where Sheppard’s geographical ties lay shortly before his Oxford appointment. It allows us to pinpoint with a high degree of confidence when and where his first marriage took place and to understand a little of the young couple’s circumstances. A separate action, in which he appeared as a joint plaintiff with his Chapel Royal colleague Luke Caustell, is less revealing, but potentially points to a connection with the same geographical region of England.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"32 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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