DOCSLIB.ORG

Thomas Tomkins / John Bull / William Byrd / Orlando Gibbons / Giles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thomas Tomkins / John Bull / William Byrd / Orlando Gibbons / Giles Thomas Tomkins Les Virginalistes Anglais mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Les Virginalistes Anglais Country: France Style: Renaissance, Baroque MP3 version RAR size: 1329 mb FLAC version RAR size: 1207 mb WMA version RAR size: 1243 mb Rating: 4.1 Votes: 329 Other Formats: WMA AHX APE RA AIFF ASF MIDI Tracklist Hide Credits Barafostus' Dream A1 6:15 Composed By – Thomas Tomkins The King's Hunt A2 3:37 Composed By – John Bull Pavan Und Galliarde Of Mr Peter A3 8:18 Composed By – William Byrd Fantasia In D (Nr 6) A4 1:14 Composed By – Orlando Gibbons Pavane In G (Nr 16) A5 5:46 Composed By – Orlando Gibbons Walsingham - Variations B1 8:05 Composed By – William Byrd Fancy (Nr 3) In D B2 0:50 Composed By – Orlando Gibbons Maske In G B3 2:02 Composed By – Giles Farnaby Fantasia In D B4 6:28 Composed By – John Bull English Toy B5 1:21 Composed By – John Bull Fantasia In D B6 4:09 Composed By – Orlando Gibbons Companies, etc. Printed By – Imprimerie JAT, Chatillon Phonographic Copyright (p) – Harmonia Mundi GmbH Credits Harpsichord – Gustav Leonhardt Liner Notes – Wulf Arlt Notes Liner notes in German, English and French. "Clavecin Johannes Ruckers, Anvers 1640" Fold-out sleeve. Barcode and Other Identifiers Price Code: Ⓚ Other versions Category Artist Title (Format) Label Category Country Year KHS KHS Gustav English Virginal BASF, Harmonia 20308, HB 20308, HB US 1973 Leonhardt Music (LP, Album) Mundi, BASF 20308 20308 Englische 25 Gustav Basf, Harmonia 25 Virginalisten (LP, Germany Unknown 20308-5 Leonhardt Mundi 20308-5 Album) Gustav Gustav Leonhardt, Leonhardt, Thomas Tomkins / Thomas John Bull / William 1c 065-99 Tomkins / John Deutsche 1c 065-99 Byrd / Orlando Germany Unknown 609 Bull / William Harmonia Mundi 609 Gibbons / Giles Byrd / Orlando Farnaby - Englische Gibbons / Giles Virginalisten (LP) Farnaby Thomas Thomas Tomkins / Tomkins / John John Bull / William Bull / William Byrd / Orlando Byrd / Orlando BASF/Harmonia BAC 3075 Gibbons / Giles BAC 3075 UK 1968 Gibbons / Giles Mundi Farnaby - Gustav Farnaby - Leonhardt - English Gustav Virginalists (LP) Leonhardt Thomas Thomas Tomkins / Tomkins / John John Bull / William Bull / William Byrd / Orlando HM 30 492 Byrd / Orlando Gibbons / Giles HM 30 492 Harmonia Mundi Germany Unknown K Gibbons / Giles Farnaby - Gustav K Farnaby - Leonhardt - Gustav Englische Leonhardt Virginalisten (LP) Related Music albums to Les Virginalistes Anglais by Thomas Tomkins Zsuzsa Pertis - The Fitzwilliam Virginal Book (Excerpts) Ton Koopman - Fitzwilliam Virginal Book - Excerpts Bach, Bull, Byrd, Gibbons, Hassler, Pachelbel, Ritter, Strogers / Gustav Leonhardt - Bach Bull Byrd Gibbons Hassler Pachelbel Ritter Strogers Holborne, Byrd, Dowland, Bull, Gibbons, Lawes, Ferrabosco I / Fretwork - Heart's Ease (Music For Viol Consort From The Late Tudor And Early Stuart Age) Orlando Gibbons - Thomas Tallis Lamentations of Jeremiah 1 and 11 Orlando Gibbons / Rose Consort of Viols With Red Byrd - Consort And Keyboard Music, Songs And Anthems Orlando Gibbons, William Byrd, Francis Pilkington, John Ward , Deller Consort - The Silver Swan Orlando Gibbons - Rose Consort Of Viols With Red Byrd - Consort And Keyboard Music - Songs And Anthems.
Load more

Recommended publications
  • Pieter-Jan Belder the Fitzwilliam Virginal Book
    95308 Fitzwilliam VB vol5 2CD_BL1_. 30/09/2016 11:06 Page 1 95308 The Fitzwilliam Virginal Book Volume 5 Munday · Richardson · Tallis Morley · Tomkins · Hooper Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 5 Compact Disc 1 65’42 Compact Disc 2 58’02 John Munday 1555–1630 Anonymous Thomas Morley 1557 –1602 Anonymous & 1 Munday’s Joy 1’26 18 Alman XX 1’58 1 Alman CLII 1’33 Edmund Hooper 1553 –1621 2 Fantasia III, ( fair weather… ) 3’34 19 Praeludium XXII 0’54 2 Pavan CLXIX 5’48 12 Pakington’s Pownde CLXXVIII 2’14 3 Fantasia II 3’36 3 Galliard CLXX 3’00 13 The Irishe Dumpe CLXXIX 1’24 4 Goe from my window (Morley) 4’46 Thomas Tallis c.1505 –1585 4 Nancie XII 4’41 14 The King’s Morisco CCXLVII 1’07 5 Robin 2’08 20 Felix namque I, CIX 9’08 5 Pavan CLIII 5’47 15 A Toye CCLXIII 0’59 6 Galiard CLIV 2’28 16 Dalling Alman CCLXXXVIII 1’16 Ferdinando Richardson 1558 –1618 Anonymous 7 Morley Fantasia CXXIV 5’37 17 Watkins Ale CLXXX 0’57 6 Pavana IV 2’44 21 Praeludium ‘El. Kiderminster’ XXIII 1’09 8 La Volta (set by Byrd) CLIX 1’23 18 Coranto CCXXI 1’18 7 Variatio V 2’47 19 Alman (Hooper) CCXXII 1’13 8 Galiarda VI 1’43 Thomas Tallis Thomas Tomkins 1572 –1656 20 Corrãto CCXXIII 0’55 9 Variatio VII 1’58 22 Felix Namque II, CX 10’16 9 Worster Braules CCVII 1’25 21 Corranto CCXXIV 0’36 10 Pavana CXXIII 6’53 22 Corrãto CCXXV 1’15 Anonymous Anonymous 11 The Hunting Galliard CXXXII 1’59 23 Corrãto CCXXVI 1’08 10 Muscadin XIX 0’41 23 Can shee (excuse) CLXXXVIII 1’48 24 Alman CCXXVII 1’41 11 Pavana M.S.
    [Show full text]
  • 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.
    [Show full text]
  • The 1600 Collection of Madrigals by Thomas Weelkes
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 The 1600 olC lection of Madrigals By Thomas Weelkes Rachel Linsey Albert University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Albert, Rachel Linsey, "The 1600 oC llection of Madrigals By Thomas Weelkes" (2014). Theses and Dissertations. 351. https://dc.uwm.edu/etd/351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2014 ABSTRACT THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Mitchell P. Brauner Thomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes’s edition of Weelkes’s madrigal publications. The only comprehensive study of Weelkes’s life and works is David Brown’s 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 38,1918
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, January 16, at 8.00 PRoGRTWVE M. Steinert S i & STEINWAY PJEWETT lanos STEINERT WOODBURY B DUO ART PIANOS PIANOLA PIANOS AEOLIAN PIPE ORGANS VICTOR VICTROLAS VICTOR RECORDS i Kl Steinert Hall 62 Boylston Street SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY INCORPORATED Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, JANUARY 16 AT 8.00 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or. in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs arc sung, and strings vibrate, and keys respond to loves caress, there is known, respected, revered loved- the name and fame of STEINWAY." Catalogue and prices on application Sold on convenient paymuitt Old piano* taken in exchange Inipection invited STEINWAY & SONS, STEINWAY HAUL 107 109 F.ast I4tl.
    [Show full text]
  • Thomas Morley Nine Canzonets and Music from the Fitzwilliam Virginal Book Mp3, Flac, Wma
    Thomas Morley Nine Canzonets and Music from the Fitzwilliam Virginal Book mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Nine Canzonets and Music from the Fitzwilliam Virginal Book Country: US MP3 version RAR size: 1953 mb FLAC version RAR size: 1724 mb WMA version RAR size: 1583 mb Rating: 4.1 Votes: 875 Other Formats: AUD DXD DMF MP3 MP4 AC3 AHX Tracklist A1 –Thomas Morley Cruel, wilt thou persever 2:00 A2 –Thomas Morley False love did me inveigle 2:45 A3 –Thomas Morley My nymph the deer 1:24 A4 –William Byrd The Queen's Alman 2:32 A5 –Martin Peerson The Primerose 1:25 A6 –William Byrd La Volta 2:35 A7 –Thomas Morley Adieu, you kind and cruel 2:00 A8 –Thomas Morley Ay me! the fatal arrow 1:48 A9 –Thomas Morley Love took his bow and arrow 1:55 B1 –Peter Philips Galiarda dolorosa 3:56 B2 –Giles Farnaby Tell me, Daphne 1:30 B3 –William Byrd Galiarda 1:30 B4 –Thomas Morley O grief, even on the bud 1:48 B5 –Thomas Morley Lo, where with flower head 1:27 B6 –Thomas Morley Our Bonny-boots 1:17 B7 –John Bull Piper's Galliard 2:50 B8 –Martin Peerson The Fall of the Leafe 2:05 B9 –Giles Farnaby Tower Hill 0:35 Credits Bass Vocals – John Frost Contralto Vocals – Jean Allister Ensemble – The Ambrosian Consort Harpsichord – Valda Aveling Liner Notes – Denis Stevens Music Director – Denis Stevens Soprano Vocals – Patricia Clark Tenor Vocals – Edgar Fleet, Leslie Fyson Barcode and Other Identifiers Other (Library of Congress Catalog Card No.): 72-750084 Related Music albums to Nine Canzonets and Music from the Fitzwilliam Virginal
    [Show full text]
  • Download the Address
    Trinity College Cambridge Saturday 23 November 2013, 2.30pm Memorial service for Richard Marlow It is a great privilege and, at the same time, rather daunting to give this address. After all, Richard Marlow was more than twice my age and held the post of Director of Music at Trinity for somewhat longer than I have been alive. My own time as a music student and organ scholar here, in the final years of the last century, coincided with the beginning of Richard’s fourth decade as a Fellow. By then, many achievements and a vast discography lay behind him, yet his commitment to the highest standards of performance and teaching were undimmed, and remained so until the very end of his life. Born on the outskirts of London just one month before the outbreak of the Second World War, his father an electricity- board worker and his mother a stalwart of the Mothers’ Union, Richard was educated at the local primary school and failed the 11+ exam, an achievement of which he remained strangely proud. Following five years at Archbishop Temple’s Secondary Modern School near Lambeth Palace, he went on to the sixth form at St Olave’s School, which then lay not far from Tower Bridge. Richard’s first exposure to church music came at St Paul’s Nork (Surrey) where the Organist was the Vicar’s teenage son, Christopher Dearnley, later Organist of Salisbury and St Paul’s cathedrals. He encouraged Richard to audition for a choristership at Southwark Cathedral, where Sidney Campbell first introduced him to the organ.
    [Show full text]
  • Multiple Discriminate Analysis of Elizabethan Keyboard Variations
    A MULTIPLE DISCRIMINATE ANALYSIS OF ELIZABETHAN KEYBOARD VARIATIONS by DONNA SCHENCK-HAMLIN B. A., University of Oregon, 1975 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music KANSAS STATE UNIVERSITY Manhattan, Kansas 1984 Approved by: _ K Major Pfof^ssor A11EDE bbb3mD .TV ACKNOWLEDGMENTS From inspiration to completion, several contributors to this thesis deserve my grateful acknowledgment. Dr. George Milliken's assistance with statistical interpretation and Dr. Mary Ellen Sutton's scrutiny of the musical variables provided necessary checks along the way. Dr. Ghappell White's patience, William Schenck-Hamlin's persistence, and Nikki Carpenter's perfectionism helped bring this project to fruition. TABLE OF CONTENTS CHAPTER I: INTRODUCTION i CHAPTER II: HISTORICAL REVIEW H Composers Treated in this Analysis 11 Development of the Variation Genre 15 Comparison of Variations 18 CHAPTER III: METHODOLOGY 27 Discriminant Analysis 31 CHAPTER IV: RESULTS 36 Preliminary Analysis of the Known Pieces 36 Discriminate Analysis on all 6 Composers 39 Stepwise Discriminate Analysis l\Z Discriminate Analysis Run with Nine Selected Variables . kh CHAPTER V: CONCLUSIONS 48 Variables I4Q Composers , 51 Discriminate Analysis 56 APPENDIX 1 5 o. A Source List of Pavan Variations APPENDIX 2 63 Analysis of Variance Results for All Composers on All Variables FOOTNOTES 67 BIBLIOGRAPHY 70 LIST OF FIGURES FIGURE I-A: Effectiveness of Two Measurements Taken Simultaneously in Separating Two Groups (A and B) 9 FIGURE II-A: Plot of Average Degrees of Ghordal Texture, by Variation Lachrymae Pavans, by Byrd, Morley, and Gibbons ... 22 FIGURE II-B: Plot of Within-Variation Deviation From Average Ghordal Texture Lachrymae Pavans, by Byrd, Morley, and Gibbons ..
    [Show full text]
  • TOC 0396 CD Booklet.Indd
    LACHRIMAE: JOHN DOWLAND’S GREATEST HIT by Michael Gale Flow, my teares fall from your springs, Exilde for ever: Let mee morne Where nights black bird hir sad infamy sings, Tere let mee live forlorn.1 Although Dowland’s Lachrimae2 was undoubtedly his most popular work during his lifetime, its genesis remains shrouded in mystery. Best known today in the form of a lute-song (Flow my teares), Lachrimae almost certainly began life as a pavan for solo lute, probably composed in the late 1580s or 1590s. Yet no autograph manuscript copy survives, nor is it known which of the earliest extant copies is nearest to Dowland’s original conception of the work – if, indeed, he had a fxed version in mind at all. Afer all, Dowland was frst and foremost a virtuoso lutenist, a vocation inextricably bound up with the practice of improvisation, and so it is quite possible that he would never have played (or written out) his most esteemed composition the same way twice. Nevertheless, it is clear that the widespread fame of Lachrimae was central to Dowland’s own growing reputation as a composer; he even signed his name as ‘Jo: dolandi de Lachrimae’ in the album amicorum of the early seventeenth- century German traveller Johannes Cellarius. Dowland committed two later versions of his Lachrimae to print: the iconic lute- song Flow my teares (in his Second Booke of Songs or Ayres published in 1600), and 1 John Dowland, Flow my teares, Second Booke of Songs or Ayres, 1600. 2 Te spelling of ‘Lachrimae’ takes a number of forms in diferent sources.
    [Show full text]
  • Symphony Band Chamber Winds
    SYMPHONY BAND CHAMBER WINDS COURTNEY SNYDER, CONDUCTOR CHRISTINE LUNDAHL, GRADUATE STUDENT CONDUCTOR Monday, November 2, 2020 Hill Auditorium 8:45 PM The Battell Suite (1590) William Byrd The Souldier’s Summons (ca. 1539–1623) The Burying of the Dead arr. Makoto Onodera The Retraite The Earl of Oxford’s March Christine Lundahl, conductor Drama (1996) Guo Wenjing VI. (b. 1956) Serenade in C Minor, KV 388 (1783) Wolfgang Amadeus Mozart Allegro (1756–1791) Andante Menuetto in canone Allegro THe use of all cameras and recording devices is strictly prohibited. Please turn off all cell phones and pagers or set ringers to silent mode. BYRD, THE BATTELL SUITE Born in London circa 1539, William Byrd was an English organist and composer of the Shake- spearean age who is best known for his development of the English madrigal. He also wrote virginal and organ music that elevated the English keyboard style. He was a pupil and protégé of the organist and composer Thomas Tallis, and his first official appointment was as organist at Lincoln Cathedral. In 1572, he returned to London to take up his post as a gentleman of the Chapel Royal, where he shared the duties of organist with Tallis. After the death of Tallis in 1585, Byrd published four collections of his own music: Psalmes, Sonets, & Songs of Sadnes and Pietie, Songs of Sundrie Natures, and two further books of Cantiones sacrae. In 1593, Byrd moved with his family to Stondon Massey, Essex, where he lived for the rest of his life. Byrd wrote extensively for every medium then available except the lute.
    [Show full text]
  • Pieter-Jan Belder the Fitzwilliam Virginal Book Volume 7 Compact Disc 1 58’46 Compact Disc 2 65’38 Compact Disc 3 61’12
    95648 The Fitzwilliam Virginal Book Volume 7 G. Farnaby • R. Farnaby • Byrd Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 7 Compact Disc 1 58’46 Compact Disc 2 65’38 Compact Disc 3 61’12 Giles Farnaby c.1563–1640 Giles & Richard Farnaby 1594–1623 William Byrd 1 Alman R. Johnson set by Farnaby CXLVII 1’20 1 Up tails all (Giles) CCXLII 6’21 1 A Gigg CLXXXI 1’06 2 Grounde CCXL 5’52 2 A Duo (Richard) CCXLVIII 1’34 2 Pavan CCLVI 4’39 3 Bony sweet Robin CXXVIII 4’57 3 Put up thy Dagger, Jemy (Giles) CXXVII 3’43 3 Ut, mi, re CII 6’18 4 A Gigge CCLXVII 1’26 4 Nobodyes Gigge (Richard) CXLIX 2’36 4 Wolsey’s Wilde CLVII 1’31 5 Fantasia CCXXXIV 3’02 5 Hanskin (Richard) CCXCVII 4’52 5 Praeludium XXIV 1’04 6 Praeludium CCXLVI 1’06 6 Why aske you (Giles) CCLXXXVI 1’57 6 Alman LXIII 2’32 7 Fantasia CCVIII 4’38 7 Fayne would I wedd (Richard) CXCVII 0’54 7 Corranto CCXLI 1’16 8 The flatt Pavan CCLXXXIV 3’15 8 Pescodd Time CCLXXVI 6’46 9 Fantasia CCXCVI 4’26 William Byrd c.1540–1623 9 The Ghost CLXII 2’41 10 The L. Zouches Maske CCXXXIX 2’52 8 Pavana ‘Delight’ E. Johnson set by Byrd 5’23 10 O Mistris myne LXVI 5’35 11 Fantasia CCXXIX 3’57 CCLXXVII 11 Sir John Gray’s Galliard CXCI 2’01 12 Tower Hill CCXLV 0’59 9 Galiarda CCLXXVIII 1’46 12 Gipseis Round CCXVI 5’16 13 Fantasia ‘Ay me, poore heart’ 2’46 10 Miserere a3 CLXXVI 2’02 13 Malt’s come down CL 2’12 CCXXXIII 11 Miserere a4 CLXXVII 2’21 14 Daphne CXII 5’46 12 Callino Casturame CLVIII 2’00 Anonymous 15 Fantasia CCXXXVIII 3’11 13 The Earle of Oxford’s Marche CCLIX 3’44 14 A Medley CLXXIII 5’37 16 Rosseters Galliard CCLXXXIII 2’16 14 Pavana ‘Bray’ XCI 4’38 15 Corranto Lady Riche CCLXV 1’26 17 Walter Erle’s Paven CCXXXV 5’19 15 Galliard XCII 1’39 16 Heaven and Earth CV 2’38 18 Spagnioletta LIV 1’56 16 Fortune LXV 3’57 17 Praeludium CLI 1’53 17 Alman CLXIII 1’13 18 A Toye CCLXVIII 1’05 18 Galliard CLXIV 1’36 19 Why aske you CLXI 1’06 19 Monsieur’s Alman LXI 4’29 20 Allemanda CCLXXIV 2’07 20 Monsieur’s Alman Variatio.
    [Show full text]
  • Thomas Morley and the Business of Music in Elizabethan England
    THOMAS MORLEY AND THE BUSINESS OF MUSIC IN ELIZABETHAN ENGLAND by TERESA ANN MURRAY A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Thomas Morley’s family background in Norwich and his later life in London placed him amongst the educated, urban, middle classes. Rising literacy and improving standards of living in English cities helped to develop a society in which amateur music-making became a significant leisure activity, providing a market of consumers for printed recreational music. His visit to the Low Countries in 1591 allowed him to see at first hand a thriving music printing business. Two years later he set out to achieve an income from his own music, initially by publishing collections of light, English-texted, madrigalian vocal works. He broadened his activities by obtaining a monopoly for printed music in 1598 and then by entering into a partnership with William Barley to print music.
    [Show full text]
  • The First Book of the Great Musicians
    e First Book of the GREAT MUSICIANS Books by Percy A. Scholes e Listener’s Guide to Music e First Book of the Great Musicians e Second Book of the Great Musicians e ird Book of the Great Musicians e Complete Book of the Great Musicians e First Book of the GREAT MUSICIANS A Course in Appreciation for Young Readers by Percy A. Scholes YESTERDAY’S CLASSICS ITHACA, NEW YORK Cover and arrangement © 2021 Yesterday’s Classics, LLC. is edition, rst published in 2021 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republication of the text originally published by Oxford University Press in 1922. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics. com. Yesterday’s Classics is the publishing arm of Gateway to the Classics which presents the complete text of hundreds of classic books for children at www. gatewaytotheclassics.com. ISBN: 978-1-63334-128-9 Yesterday’s Classics, LLC PO Box 339 Ithaca, NY 14851 TO THE READER If you want to play a good game at cricket or football or tennis you have to learn how the game is played, and to practise it. When you have learnt and practised, then you get the enjoyment. And, in the same way, if you want to listen properly to lots of the very best music you have to learn about it and then to practise listening. And, here again, when you have learnt and practised you get the enjoyment. But learning about a game, and practising it, are really quite good fun in themselves.
    [Show full text]