DOCSLIB.ORG

Learning the Lute in Early Modern England, C. 1550-C. 1640

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Learning the Lute in Early Modern England, C. 1550-C. 1640 University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES School of Music Learning the lute in early modern England, c.1550-c.1640 by Michael Gale Thesis for the degree of Doctor of Philosophy May 2014 ABSTRACT This study explores the popularity of lute instruction in late sixteenth- and early seventeenth-century England and the ways in which this accomplishment was used in constructions of social status. The opening chapter outlines the functions of the lute in early modern English culture and surveys previous research on the instrument and its repertory. Chapter 2 provides an overview of the hierarchical structure of Elizabethan society, highlighting shifting conceptions of “gentle” status during the sixteenth century. The complex position of music within early modern discourses on elite identity is discussed, alongside the potential of lute-playing skills to contribute towards social advancement. Four case studies follow, each exploring the uses of lute-playing amongst practitioners located on the hazily defined boundaries between “gentle” and lower-class status. Chapter 3 uses the autobiography of Thomas Whythorne as a focal point in order to examine the ambiguous role of musicians in household service. By teaching coveted “courtly” skills to their social superiors, these music tutors were in an advantageous position to secure further rewards and enhance their status. Chapter 4 reassesses the Mynshall lutebook, highlighting the roles of music-making and literary production amongst a circle of mercantile-class men in provincial England. It reveals how lute- playing and poetic exchange facilitated social interaction and consolidated kinship bonds within this group as they sought to forge a collective identity grounded in the cultural practices of more elite circles. The role of recreational music-making amongst university men is examined in Chapter 5 through a reappraisal of the Dallis lutebook, showing how playing and collecting lute music could form a strand in the fashioning of a distinctively learned “scholarly” identity. My final case study assesses the printed tutor books marketed from the 1560s onwards, paying close attention to the material forms of extant copies (as evidence of their usage) and their paratextual materials. A close reading of Thomas Robinson’s Schoole of Musicke (1603) reveals how this publication was designed to appeal simultaneously to two very different markets: aspirant middle-class autodidacts, and wealthier “gentleman” readers who could provide further patronage and career advancement to the author. i ii Contents Introduction 1 Chapter 1: The lute in early modern English society 9 Chapter 2: Music-making and the social structure of Elizabethan England 33 Chapter 3: Household musicians and the performance of court(ier)ship 51 Chapter 4: The cultural circle of Richard Mynshall, provincial mercer and lutenist 81 Chapter 5: Learning the lute in Oxford and Cambridge colleges 117 Chapter 6: “Thou mayest easily learne by thy selfe, with very small helpe of a 173 teacher”: Music and self-education in Elizabethan and Jacobean England Conclusion 213 Appendix 1: Contributors to the Mynshall lutebook 221 Appendix 2: Extant copies of English tutor books for plucked instruments, 1568- 225 1610 Bibliography 231 iii iv List of figures Figure 1.1 Board, f.36v (detail) 15 Figure 2.1 Oxford, Bodleian Library, Douce 280, f.103v. 40 Figure 3.1 John Danyel, Songs for the Lute, Viol, and Voice (1606), 77 dedication. Figure 4.1 Mynshall, f.5v 95 Figure 4.2 Mynshall, f.[i]v 104 Figure 4.3 Mynshall, f.[ii]r 105 Figure 5.1 Dallis, p.20 151 Figure 5.2 Transcription of “Wugorns Gayliarde” (Dallis, p.20) 156 Figure 5.3a Dallis, p.226 (facsimile) 166 Figure 5.3b Transcription of ornamented progressions 167 Figure 5.4a Cambridge, King’s College, Rowe 316, f.85v (detail) 168 Figure 5.4b Transcription of Rowe 316, f.85v 169 Figure 6.1 Robinson, “Row well you Marriners”, sig. D2r (detail) 187 Figure 6.2a Le Roy 1568, f.36v, bars 1-4. 197 Figure 6.2b Le Roy 1568, f.36v (British Library copy) 198 Figure 6.3 Barley, sig. F4r (Huntington Library copy); detail showing 199 manuscript corrections Figure 6.4 Robinson, “To the reader.” 206 v vi List of tables Table 2.1 Oxford, Bodleian Library, Top.gen.c.90, f.105r 35 Table 3.1 Overview of Thomas Whythorne’s known biography 55 Table 4.1 Sources for the biography of Richard Mynshall 86 Table 4.2 Richard Mynshall’s immediate family 88 Table 4.3 Musical contents of the Mynshall lute book 99 Table 4.4 Overview of the contents of the Mynshall lutebook 100 Table 4.5 Volumes associated with Richard Mynshall & Raphe Wilbraham 116 Table 5.1 A course of lessons with Thomas Dallis? 154 Table 6.1 Chronological overview of instrumental self-tuition books 177 using tablature notation published in England c.1565-1610. vii viii DECLARATION OF AUTHORSHIP I, Michael David Gale declare that the thesis entitled Learning the lute in early modern England, c.1550—c.1640 and the work presented in the thesis are both my own, and have been generated by me as the result of my own original research. I confirm that: this work was done wholly or mainly while in candidature for a research degree at this University; where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; where I have consulted the published work of others, this is always clearly attributed; where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; I have acknowledged all main sources of help; where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; none of this work has been published before submission. Signed: ……………………………………………………………………….. Date:……………………………………………………………………………. ix x Acknowledgements During the lengthy gestation of this thesis, I have benefited from assistance and support from numerous people and institutions. I am grateful to the staff of various libraries and archives for making their holdings available to me: in Cambridge, the libraries of Christ’s, King’s, and Trinity Colleges, and the University Library; Cheshire Record Office; Trinity College, Dublin; in London, the British Library, Royal Academy of Music, Royal College of Music, and The National Archives at Kew; the Bodleian Library, University of Oxford; and the staff of the Hartley Library at the University of Southampton. I am particularly grateful to Amelie Roper, who patiently dealt with my requests whilst employed at three of the above institutions, and to Bridget Palmer, who arranged for me to consult materials in the otherwise inaccessible Robert Spencer Collection at the Royal Academy of Music. Paul Boucher (Boughton House), Stephen Tabor (Huntington Library), and the staff at Durham University Library all helpfully supplied information and images relating to specific items in their collections, saving me a good deal of travelling. I was fortunate enough to receive a part-time Arts and Humanities Research Council doctoral studentship (2006-11) to support this work and I wish to express my gratitude to that organisation. For help with additional costs (including travel to libraries and conferences, as well as the purchase of research materials), I received generous further funding from the Musica Britannica Trust (Louise Dyer fund), the Music & Letters Trust, the Royal Musical Association, and the University of Southampton (School of Humanities). A huge number of other scholars and musicians have aided the course of this research over the years, sometimes by answering brief enquiries, at other times in more substantial ways (by reading drafts, providing copies of sources, and by sharing their own unpublished writing and research materials). My most substantial debts are to Kirsten Gibson, Pat Glynn, Christopher Goodwin, the late Ian Harwood, Ben Hebbert, and John Robinson. A special mention must go to Tim Crawford; the five years I spent working alongside Tim on his Electronic Corpus of Lute Music project served as a wonderful apprenticeship for this project, enabling me to get to know many of the English “Golden Age” sources under his expert tutelage. I am also very grateful to the examiners of this thesis, Professor Richard Wistreich and Dr. Stephen Rice, for their helpful comments and suggestions. xi My most significant intellectual debt, however, is owed to my supervisory team at the University of Southampton, Jeanice Brooks, Liz Kenny, and Ros King. All three have endured me repeatedly missing self-imposed deadlines over the past seven years, listening to my tales of childcare- and employment-related woe with exemplary patience and good grace. What’s more, very few institutions could have found me one supervisor with the necessary combination of cross-disciplinary interests to support this project, let alone three.
Load more

Recommended publications
  • View 2019 Edition Online
    Emmanuel Emmanuel College College MAGAZINE 2018–2019 Front Court, engraved by R B Harraden, 1824 VOL CI MAGAZINE 2018–2019 VOLUME CI Emmanuel College St Andrew’s Street Cambridge CB2 3AP Telephone +44 (0)1223 334200 The Master, Dame Fiona Reynolds, in the new portrait by Alastair Adams May Ball poster 1980 THE YEAR IN REVIEW I Emmanuel College MAGAZINE 2018–2019 VOLUME CI II EMMANUEL COLLEGE MAGAZINE 2018–2019 The Magazine is published annually, each issue recording college activities during the preceding academical year. It is circulated to all members of the college, past and present. Copy for the next issue should be sent to the Editors before 30 June 2020. News about members of Emmanuel or changes of address should be emailed to [email protected], or via the ‘Keeping in Touch’ form: https://www.emma.cam.ac.uk/members/keepintouch. College enquiries should be sent to [email protected] or addressed to the Development Office, Emmanuel College, Cambridge CB2 3AP. General correspondence concerning the Magazine should be addressed to the General Editor, College Magazine, Dr Lawrence Klein, Emmanuel College, Cambridge CB2 3AP. Correspondence relating to obituaries should be addressed to the Obituaries Editor (The Dean, The Revd Jeremy Caddick), Emmanuel College, Cambridge CB2 3AP. The college telephone number is 01223 334200, and the email address is [email protected]. If possible, photographs to accompany obituaries and other contributions should be high-resolution scans or original photos in jpeg format. The Editors would like to express their thanks to the many people who have contributed to this issue, with a special nod to the unstinting assistance of the College Archivist.
    [Show full text]
  • A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two
    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century.
    [Show full text]
  • Common and Noteworthy Instruments from 1750S-1800S' Eastern
    Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin.
    [Show full text]
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music
    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
    [Show full text]
  • Download Booklet
    This is a record from the Golden Age in England, the age of Shakespeare. Most things in England seem to have flourished for some decades about 1600 ; even music. This was the age of the lutenists and the virginalists. Madrigals were sung around a ci.rculu table at home and majestic music accompanied the sewices in the great cathedrals. It was at this time l}]'at the ayre, the solo song with lute accompmiment, was at its peak. Numerous composers sought the ideal maniage of word and music' Richard Barnfield brought together two of the period's greatest nmes, the poet Edmund Spenser and the musician John Dowland in a sonet : (see text I) The first printed volume of solo songs appeaed in 1597 : (see text II) The universities were, of course. Oxford and Cambridge. The particular "notation" used by lute players is known as tablature. The coliection was pdnted in such a manner that the songs could be performed by a single voice with lute accompaniment or as four-part songs, The latter could be achieved by sitting in a circle round the music wtrich is arranged on the page with one part at each point of the compas. A contemporary wrote that it would be as well always to follow this pattern fot other- wise the pdtsingers would have to look over someone's shoulder and would improv- ise their own unfortunate counterparts. In 1597, the year of publication, JOHN DOWLAND was 34' He abeadv had a good deal to say about his life in the preface to the Coudeous Reader : (see text III) Exactly ! The golden age of English music was subiect to powerful impulses from abroad, not least from ltaly.
    [Show full text]
  • Image and Influence: the Political Uses of Music at the Court of Elizabeth I
    Image and Influence: The Political Uses of Music at the Court of Elizabeth I Katherine Anne Butler Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements With thanks to all the people who supported me throughout my research, especially: My supervisor, Stephen Rose, My advisors, Elizabeth Eva Leach and Anna Whitelock, The Arts and Humanities Research Council for funding this research, Royal Holloway Music Department for conference grants, My proofreaders, Holly Winterton, Sarah Beal, Janet McKnight and my Mum, My parents and my fiancé, Chris Wedge, for moral support and encouragement. Declaration of Authorship I, Katherine Butler, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract In their Cantiones sacrae (1575), court musicians William Byrd and Thomas Tallis declared that ‘music is indispensable to the state’ (necessarium reipub.). Yet although the relationship between Elizabethan politics and literature has been studied often, there has been little research into the political functions of music. Most accounts of court music consist of documentary research into the personnel, institutions and performance occasions, and generally assume that music’s functions were limited to entertainment and displays of magnificence. However, Elizabethans believed that musical concord promoted a social harmony that would ease the process of government; hence politics and music were seen as closely connected. This thesis is an interdisciplinary investigation into the role of music in constructing royal and courtly identities and influencing Elizabeth’s policies and patronage.
    [Show full text]
  • A History of Mandolin Construction
    1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago.
    [Show full text]
  • The Renaissance Cittern
    The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar.
    [Show full text]
  • Schuler Dissertation Final Document
    COUNSEL, POLITICAL RHETORIC, AND THE CHRONICLE HISTORY PLAY: REPRESENTING COUNCILIAR RULE, 1588-1603 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Anne-Marie E. Schuler, B.M., M.A. Graduate Program in English The Ohio State University 2011 Dissertation Committee: Professor Richard Dutton, Advisor Professor Luke Wilson Professor Alan B. Farmer Professor Jennifer Higginbotham Copyright by Anne-Marie E. Schuler 2011 ABSTRACT This dissertation advances an account of how the genre of the chronicle history play enacts conciliar rule, by reflecting Renaissance models of counsel that predominated in Tudor political theory. As the texts of Renaissance political theorists and pamphleteers demonstrate, writers did not believe that kings and queens ruled by themselves, but that counsel was required to ensure that the monarch ruled virtuously and kept ties to the actual conditions of the people. Yet, within these writings, counsel was not a singular concept, and the work of historians such as John Guy, Patrick Collinson, and Ann McLaren shows that “counsel” referred to numerous paradigms and traditions. These theories of counsel were influenced by a variety of intellectual movements including humanist-classical formulations of monarchy, constitutionalism, and constructions of a “mixed monarchy” or a corporate body politic. Because the rhetoric of counsel was embedded in the language that men and women used to discuss politics, I argue that the plays perform a kind of cultural work, usually reserved for literature, that reflects, heightens, and critiques political life and the issues surrounding conceptions of conciliar rule.
    [Show full text]
  • Collections of Musicians' Letters in the UK and Ireland: a Scoping Study
    Collections of musicians’ letters in the UK and Ireland: a scoping study Katharine Hogg, Rachel Milestone, Alexis Paterson, Rupert Ridgewell, Susi Woodhouse London December 2011 1 Acknowledgements The authors would like to thank all those who gave their time and expertise to make this scoping study possible. They include: the staff of organisations and individuals responding to the survey, staff at the BBC Written Archives, Oxford University Press, the London Symphony Orchestra, Cheltenham Festivals, Royal Festival Hall, Royal Academy of Music, Royal Society of Musicians, and those who kindly agreed to be interviewed on their use and perception of archives of letters. © Music Libraries Trust 2012 2 Contents 1. Introduction ...................................................................................................................................... 5 2. Rationale ........................................................................................................................................... 5 2.1. The resource................................................................................................................................................ 5 2.2. Repositories ................................................................................................................................................ 5 2.3. Resource discovery...................................................................................................................................... 6 2.4. Data integration..........................................................................................................................................
    [Show full text]