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The English Lyrics of the Henry VIII Manuscript
The English Lyrics of the Henry VIII Manuscript by RAYMOND G. SIEMENS B. A. (Hons), The University of Waterloo, 1989 M.A., The University of Alberta, 1991 A THESIS SUBMITTED LN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES, Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May 20, 1997 ©R.G. Siemens, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or 'by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. /7 v. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2788) Abstract The Henry VIII MS (BL Additional MS 31,922)—a song book with lyrics by Henry VIII, Thomas Wyatt, William Cornish, and other literary figures of the early Henrician court—is a document that contributes greatly to a critical understanding of the connections between poetry, patronage, and power in early Renaissance society because of the prominence of its chief author, the King himself, and the manuscript's reflection of literary, social, and political elements of the early Tudor court. Acknowledging that the contents of the Henry VIII MS have been thoroughly treated as "words for music" by the musicologist John Stevens, whose Music and Poetry in the Early Tudor Court and Music at the Court of Henry VIII are the standard works in the area, my thesis builds on existing scholarship to treat the lyrics of H chiefly as "words," as literary texts. -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Horatio William Parker (Geb. Auburndale, Massachusetts, 15
Horatio William Parker (geb. Auburndale, Massachusetts, 15. September 1863 — gest. Cedarhurst, New York, 18. Dezember 1919) Konzert für Orgel und Orchester es-moll op. 55 (1902) I Allegro moderato - Andante p. 1 II Allegretto, ma ben moderato p. 28 III Allegro moderato, molto risoluto - Più mosso p. 37 Vorwort Parker war einer der großen amerikanischen Komponisten und Musikpädagogen. Zunächst hatte er bei seiner Mutter Isabella G. Parker, einer Organistin, seine musikalische Früherziehung erhalten. Dann studierte er in Boston bei John Orth (1850-1932) Klavier, bei Stephen A. Emery (1841-91) Theorie und bei George W. Chadwick (1854-1931) Komposition. Daraufhin begab er sich nach Deutschland, wo er 1882-85 in München bei Joseph Rheinberger (1839-1901) in die Lehre ging. Zurück in den Vereinigten Staaten ab 1886, hatte er zunächst in New York verschiedene Stellen als Pädagoge und Organist inne. 1893 ging er nach Boston, wo er Organist und Chormeister an der Trinity Church wurde. Mit der Uraufführung des Oratoriums Hora Novissima, seines bei weitem erfolgreichsten Werks, am 3. Mai 1893 in New York wurde er berühmt. 1894 wurde er Professor an der Yale University, wo er 1904 zum Dekan der Music School gewählt wurde. Zu seinen zahlreichen Schülern zählte Charles Ives (1874-1954) , der ihn weiterhin hoch schätzte, nachdem er die traditionellen Begrenzungen der Tonsprache weit hinter sich gelassen hatte. Um die Jahrhundertwende leitete Parker Aufführungen eigener Werke in England (Hora Novissima op. 30 beim Worcester Festival am 14. September 1899, A Wanderer’s Psalm op. 50 als Auftragswerk des Hereford Festival am 13. September 1900 und den dritten Teil seiner Legend of Saint Christopher op. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
The Bible in Music
The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990. -
Finzi Bagatelles
Gerald Finzi (1901-1956): Five Bagatelles for clarinet and piano, Opus 23 (1945) Prelude: Allegro deciso Romance: Andante tranquillo Carol: Andante semplice Forlana: Allegretto grazioso Fughetta: Allegro vivace Better known for his vocal music, Finzi also wrote well for the clarinet: these Five Bagatelles and his later Clarinet Concerto are frequently played. Born to a German/Italian Jewish family in London, the teenage Finzi was taught composition in Harrogate by Ernest Farrar, a pupil of Stanford, and by Edward Bairstow, Master of Music at York Minster. His subsequent friends and colleagues included Vaughan Williams, R.O.Morris, Holst, Bliss, Rubbra and Howard Ferguson; his music is firmly within this English tradition. He was attracted to the beauty of the English countryside and to the poetry of Traherne, Hardy and Christina Rosetti. The Five Bagatelles had a tortuous birth. In the summer of 1941, increasingly confident in his powers as a composer, Finzi completed three character pieces for clarinet and piano before being drafted into the Ministry of War Transport. He used “20-year-old bits and pieces”, which he had been working on since 1938. A fourth was added in January 1942 and the whole group performed at a wartime National Gallery lunchtime concert. Leslie Boosey wanted to publish the pieces separately, but in July 1945 Finzi persuaded him to publish them as a group, together with an additional fast finale. Somewhat to Finzi's chagrin, they became his most popular piece: ‘they are only trifles... not worth much, but got better notices than my decent stuff’. The first movement shows Bach's influence on Finzi and contains a slow central section with characteristically wistful falling minor 7ths. -
Download Booklet
Royal Rhymes and Rounds ELIZABETH II Choral Dances from “Gloriana” Benjamin Britten u Time [1.51] i Concord [2.25] HENRY VIII o Time and Concord [1.46] 1 Pastime with good companie (The King’s Ballad) King Henry VIII [1.53] p Country Girls [1.17] 2 Ah, Robin, gentle Robin William Cornysh [2.26] a Rustics and Fishermen [1.00] 3 Blow thy horn, hunter William Cornysh [2.23] s Final Dance of Homage [2.20] 4 King Henry VIII [1.33] It is to me a right great joy d A Rough Guide to the Royal Succession Paul Drayton [12.48] 5 Anonymous [3.56] Hey, trolly lolly lo! (It’s just one damn King after another…) ELIZABETH I Total timings: [65.50] 6 Long live, fair Oriana Ellis Gibbons [2.39] 7 The Silver Swan (Round) Orlando Gibbons [2.00] THE KING’S SINGERS 8 The Silver Swan Orlando Gibbons [1.46] 9 Fair Oriana, beauty’s Queen John Hilton [2.21] www.signumrecords.com 0 Lightly she whipped o’er the dales John Mundy [3.11] q Flow, O my tears John Dowland [1.37] ROYAL RHYMES AND ROUNDS w Weep, O mine eyes John Bennet [2.44] medieval times to the prestigious position of e As Vesta was from Latmos hill descending Thomas Weelkes [3.19] There is little doubt that the development of ‘Master of the Queen’s Music’, currently held by Western classical music over the centuries owes Sir Peter Maxwell Davies (b.1934). In this VICTORIA a great deal to the patronage of kings and Diamond Jubilee year, as we mark the 60th r The Triumph of Victoria Sir Walter Parratt [2.33] queens. -
OCTOBER 2019 IAN KEATLEY (Director of Music) STEPHEN DISLEY (Assistant Director of Music)
OCTOBER 2019 IAN KEATLEY (Director of Music) STEPHEN DISLEY (Assistant Director of Music) GILLY MYERS (Canon Precentor) RACHEL YOUNG (Succentor) ANDREW NUNN (Dean) DAY SERVICE RESPONSES PSALMS HYMNS SETTING ANTHEMS 4 Friday 5.30pm Evensong (men’s voices) Tallis 35 472 (ii) Octavi toni (Victoria) In manus tuas (Pedro de Cristo) 6 SUNDAY 11.00am Eucharist 37 (1-9) 467; 279 (t. 305); Mass for five voices (Byrd) My soul, there is a country (Hubert Parry) TRINITY 400 (t. 167) Ave verum corpus (Plainsong) XVI 3.00pm Evensong Ayleward 142 CP 478; 500 Short service (Caustun) I was glad (Hubert Parry) 7 Monday 5.30pm Evensong Rawsthorne 47 471 Rawsthorne in D Like as the hart (Noel Rawsthorne) 8 Tuesday 5.30pm Evensong Ayleward 50 252 Walmisley in D minor To this temple (Edward Bairstow) 11 Friday 5.30pm Evensong Ayleward 38 (1-14) 396 Watson in E Thy word is a lantern (Henry Purcell) 12 Saturday 4.00pm Evensong (Hogarth Singers) Wells 66 361 Dyson in F Bogoroditse Devo (Sergei Rachmaninoff) 13 SUNDAY 11.00am Eucharist 100 433 (omit v.5); Missa Brevis ‘Awake, my soul’ For the beauty of the earth (John Rutter) HARVEST CP 272 (t. 237); 265 (Judith Bingham) Hymn to the Virgin (Benjamin Britten) 3.00pm Evensong Shephard 144 CP 448 (t. 265); 235 (omit v.3) Kelly in C Rejoice in the Lord (John Redford) 14 Monday 5.30pm Evensong (men’s voices) Harris 72 247 Wood in E I will lift up mine eyes (Ernest Walker) 15 Tuesday 5.30pm Evensong (men’s voices) Millington 74 245 Secundi toni (Gombert) Alleluia (Igor Stravinsky) THE CATHEDRAL CHOIR IS ON HOLIDAY UNTIL 28 OCTOBER 16 Wednesday 4.00pm Evensong (Tormead School) Terry 119 (81-104) 250 Wood in E flat (no 2) I will sing with the spirit (John Rutter) 18 Friday 5.30pm Evensong (men’s voices) Tallis 103 244 Morley fauxbordons Let us now laud (William Mundy) 20 SUNDAY 11.00am Eucharist (University of London 121 55; CP 346 (tune ii); CP 81 Sumsion in F Notre Père (Maurice Duruflé) TRINITY Church Choir) Ave verum (Camille Saint-Saëns) XVIII 3.00pm Evensong Ferial 149 347 (t. -
Stainer & Bell
STAINER & BELL INFORMATION SHEET ASK 63 MUNDY, William Library Volume: Latin Antiphons and Psalms edited by Frank Ll. Harrison. Stock No. EC2 (printed to demand: comb-bound) Works by William Mundy can also be found in: Consort Songs (edited Philip Brett). Stock No. MB22 Elizabethan Consort Music I (edited Paul Doe). Stock No. MB44 The Gyffard Partbooks I (transcribed and edited by David Mateer). Stock No. EC48 The Gyffard Partbooks II (transcribed and edited by David Mateer). Stock No. EC51 The Mulliner Book (newly transcribed and edited by John Caldwell). Stock No. MB1 Except where an asterisk is shown against a title, our archive and offprint service can usually provide authorised photocopies. Prices are available on application. Individual choral titles from the Early English Church Music series are also available for purchase as Adobe Acrobat PDF files through the secure Stainer & Bell online shop. Please see www.eecm.net for full details. Title Details No. of pages Notes Adhaesit Pavimento SATBB 11 in EC2 Adolescentulus Sum Ego SAATBB 12 in EC2 Alleluya [V. Per te dei genitrix] I 4-part 1 in EC48 Alleluya [V. Per te dei genitrix] II 4-part 1 in EC48 Beati Immaculati SAATB 11 in EC2 Domine, Non Est Exaltatum SATTBB 11 in EC2 Domine, Quis Habitabit SSAATB 25 in EC2 Eructavit Cor Meum SATTBB 24 in EC2 Exurge Christe 4-part 1 in MB1 Exurge Christe (attrib.) 4-part 2 in EC48 Fantasia 5-part 4 in MB44 Fie, fie, my fate Consort song 2 in MB22 In Aeternum SAA (or T) TBB 13 in EC2 In exitu Israel [with BYRD, William 4-part 15 in EC48 and SHEPPARD, -
I. a Humanist John Merbecke
Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation. -
The Byrd Edition & English Madrigalists
T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax.