Select Bibliography of Secondary Sources

Modern editions of plays have mostly been omitted, although many contain useful prefatory material. Please see the notes in the relevant chapters.

Adair, E. R. “The Rough Copies of the Privy Council Register,” English Historical Review 38 (1923): 410–22.

Adams, Joseph Quincy, ed. The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623– 1673. New Haven: Yale University Press, 1917.

Adler, Doris. Philip Massinger. Boston: Twayne, 1987.

Anglo, Sydney. “William Cornysh in a Play, Pageants, Prison, and Politics,” Review of English Studies 10 (1959): 347–360.

———. Spectacle, Pageantry, and Early Tudor Policy. Oxford: Oxford University Press, 1969.

Ashbee, Andrew, and David Lasocki, A Biographical Dictionary of English Court Musicians. 2 vols. Aldershot: Ashgate, 1998.

———. “Groomed for Service: Musicians in the Privy Chamber at the English Court, c.1495-1558,” Early Music 25 (1997): 185–190, 193–197.

———, ed. Records of English Court Music. Vol. 3 (1625–1649); Vol. 4 (1603–1625); Vol. 6 (1558–1603); Vol. 7 (1485–1558). Snodland: by the author, 1986–93.

Astington, John H. English Court Theatre, 1558–1642. Cambridge: Cambridge University Press, 1999.

Austern, Linda Phyllis. “‘Art to Enchant’: Musical Magic and Its Practitioners in English Renaissance Drama,” Journal of the Royal Musical Association 115 (1990): 191–206

———. “‘For Musicke is the Handmaid of the Lord’: Women, Psalms, and Domestic Music- Making in Early Modern England,” in Psalms in the Early Modern World, ed. Linda Phyllis Austern, Kari Boyd McBride and David L. Orvis, 77–114. Farnham: Ashgate, 2013.

———. “Musical parody in the Jacobean city comedy,” Music & Letters 66 (1985): 355–66.

———. Music in English Children’s Drama of the Late Renaissance. Philadelphia: Gordon and Breach, 1992.

———. “Sweet meats with sour sauce: the genesis of musical irony in English drama after 1600,” Journal of Musicology 4 (1986): pp. 472–90.

Axton, Marie, ed. Three Tudor Classical Interludes. Cambridge: D. S. Brewer, 1982. Bailey, Candace. “Blurring the Lines: ‘Elizabeth Rogers hir Virginall Book’ in Context,” Music & Letters 89 (2008): 510–46.

Barasch, Frances. “‘He’s for a Iigge, or a tale of Baudry’: Sixteenth-Century Images of the Stage-Jig,” Shakespeare Bulletin 13 (1995): 24–28.

Barroll, J. Leeds, Alexander Leggatt, Richard Hosley and Alvin Kernan. The Revels History of Drama in English. Vol. 3 (1576–1613). London: Methuen, 1975.

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. Chicago: University of Chicago Press, 1929.

Bate, Jonathan. Shakespeare and Ovid. Oxford: Oxford University Press, 1993.

Bawcutt, N. W. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels, 1623–73. Oxford: Oxford University Press, 1996.

Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Oxford University Press, 1949–1968.

Bevington, David. From Mankind to Marlowe: Growth of Structure in the Popular Drama of Tudor England. Cambridge, MA: Harvard University Press, 1962.

Blake, Ann. “‘The Humour of Children’: John Marston’s Plays in the Private Theatres,” Review of English Studies 38 (1987): 471–482.

Bowden, William R. The English Dramatic Lyric, 1603–42: A Study in Stuart Dramatic Technique. New Haven: Yale University Press, 1951.

Bowers, Roger. “The Playhouse of the Choristers of Paul’s, c.1575–1608,” Theatre Notebook 54 (2000): 70–85.

Bronson, Bertrand. The Traditional Tunes of the Child Ballads. 4 vols. Princeton: Princeton University Press, 1959–1972.

Brookes, Virginia. British Keyboard Music to c.1660. Oxford: Oxford University Press, 1996.

Brooks, Jeanice. Courtly Song in Late Sixteenth-Century France. Chicago: University of Chicago Press, 2000.

Brown, Arthur. “Sebastian Westcott at York,” Modern Language Review 47 (1952): 49–50.

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge, MA: Harvard University Press, 1963.

Buchanan, Roberta. Ars adulandi, or the Art of Flattery by Ulpian Fulwell. Salzburg: University of Salzburg, ca.1984. Carpenter, Caroline. “Through a Masque Darkly: William Percy’s Necromantes and the Gunpowder Plot of 1605” (PhD diss., Claremont Graduate School, 2015).

Carpenter, Nan Cooke. “Music in the Secunda Pastorum,” Speculum 26 (1951): 696–700.

———. “Skelton and Music: Roty bully joys,” Review of English Studies 6 (1955): 279–284.

———. “Skelton’s Hand in William Cornish’s Musical Parable,” Comparative Literature 22 (1970): 157–172.

Cathcart, Charles. “Sir Giles Goosecap, Knight: George Chapman; Poetaster; and the Children of the Chapel,” Medieval and Renaissance Drama in England 25 (2012): 42–61.

Chambers, E. K. The Elizabethan Stage. 3 vols. Oxford: Oxford University Press, 1923.

Chan, Mary. “Cynthia’s Revels and Music for a Choir School: Christ Church Manuscript Mus 439,” Studies in the Renaissance 18 (1971): 134–72.

———. “Drolls, Drolleries and Mid-Seventeenth-Century Dramatic Music in England, Royal Musical Association Research Chronicle 15 (1979): 117–73.

———. Music in the Theatre of Ben Jonson. Oxford: Oxford University Press, 1980.

Chappell, William. Popular Music of the Olden Time. London: Chappell, 1855.

———. The Ballad Literature and Popular Music of the Olden Time. London: Chappell, 1859.

Child, Francis, ed. The English and Scottish Popular Ballads. Boston: Houghton, Mifflin, 1886.

Clark, Andrew. The Shirburn Ballads, 1585–1616. Oxford: Oxford University Press, 1907.

Clark, Sandra. “Cervantes’ ‘The Curious Impertinent’ in Some Jacobean Plays,” Bulletin of Hispanic Studies 79 (2002): 477–89.

Clegg, Roger, and Lucy Skeaping. Singing Simpkin and other Bawdy Jigs: Musical Comedy on the Shakespearean Stage: Scripts, Music and Context. Exeter: University of Exeter Press, 2014.

Cohn, Albert. Shakespeare in Germany in the Sixteenth and Seventeenth Centuries: An Account of English Actors in Germany and the Netherlands, and of the plays performed by them during the same period. London: Asher, 1865.

Colley, John Scott. “Music in the Elizabethan Private Theatres,” The Yearbook of English Studies 4 (1974): 62-69.

Craik, T. W. “The True Source of John Heywood’s ‘Johan Johan’,” Modern Language Review 45 (1950): 289–95.

———. The Tudor Interlude: Stage, Costume, and Acting. Leicester: Leicester University Press, 1958. Cutts, John P. “A Bodleian Song-Book: Don.C.57,” Music & Letters 34 (1953): 192–211.

———. “Drexel Manuscript 4041,” Musica Disciplina 18 (1964): 151–202.

———. La Musique de scène de la troupe de Shakespeare. 2nd ed. Paris: Éditions du Centre National de la Recherche Scientifique, 1971.

———. “Music and The Mad Lover,” Studies in the Renaissance 8 (1961): 236–248.

———. “Peele’s Hunting of Cupid,” Studies in the Renaissance 5 (1958): 121–32.

———. “Robert Johnson: King’s Musician in His Majesty’s Public Entertainment,” Music & Letters 36 (1955): 110–25.

———. “Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b.1,” Musica Disciplina 10 (1956): 142–209.

———. “Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music Ms. Dc. 1. 69,” Musica Disciplina 13 (1959): 169–94.

———. “Songs Vnto the Violl and Lute”: Drexel Ms 4175,” Musica Disciplina 16 (1962): 73–92.

———. “The Original Music to Middleton’s The Witch,” Shakespeare Quarterly 7 (1956): 203–09.

———. “Two Jacobean Theatre Songs,” Music & Letters 33 (1952): 333–34.

Dauney, William. Ancient Scottish Melodies. Edinburgh, 1838.

Deierkauf-Holsboer, S. Wilma. Le Théatre de L’Hôtel de Bourgogne, 1548–1635. Paris: A.-G. Nizet, 1968.

Dimmock, Matthew, ed. William Percy’s Mahomet and His Heaven: A Critical Edition. Aldershot: Ashgate, 2006.

Donaldson, Ian. Ben Jonson: A Life. Oxford: Oxford University Press, 2011.

Duckles, “John Gamble’s Commonplace Book: a Critical Edition of NYPL Ms Drexel 4257” (Ph.D. diss, University of California, Berkeley, 1953).

———. “Music for the lyrics in early seventeenth-century English drama: A Bibliography of the Primary Sources,” in Music in English Renaissance Drama, ed. John H. Long, 117–60. Lexington: University of Kentucky Press, 1968.

———. “The Gamble Manuscript as a Source of ‘Continuo’ Song in England,” Journal of the American Musicological Society 1 (1948): 23–40.

Duffin, Ross W. “Catching the Burthen: A New Round of Shakespearean Musical Hunting,” Studies in Music 19–20 (2000–2001): 1–15. ———. “‘Concolinel’: Moth’s Lost Song Recovered?” Shakespeare Quarterly 66 (2015): 89–94.

———. “International Influences and Tudor Music,” in The Blackwell Companion to Tudor Literature and Culture 1485–1603, ed. Kent Cartwright, 79–94. Oxford: Oxford University Press, 2010.

———. “Music and the stage in the time of Shakespeare,” in The Age of Shakespeare, ed. R. Malcolm Smuts, 748–63. Oxford: Oxford University Press, 2016.

———. “Princely Pastimes, or a courtly catch, being the history of another musical fragment at Case Western Reserve University,” Music Library Association Notes 49 (1993): 911–24.

———. Shakespeare’s Songbook. New York: W. W. Norton, 2004.

———. The Music Treatises of Thomas Ravenscroft. Farnham: Ashgate, 2014.

———. “Thomas Morley, Robert Johnson, and Songs for the Shakespearean Stage,” in Research Companion to Shakespeare Music, ed. Christopher R. Wilson. Oxford: Oxford University Press, forthcoming.

———. “To Entertain a king: Music for James and Henry at the Merchant Taylors Feast of 1607,” Music and Letters 83 (2002): 525–41.

Dumitrescu, Theodor. The Early Tudor Court and International Musical Relations. Aldershot: Ashgate, 2007.

Dunn, T. A. Philip Massinger: The Man and the Playwright. London: University College of Ghana, 1957.

Dutka, JoAnna. Music in the English Mystery Plays. Kalamazoo: Medieval Institute Publications, 1980.

EBBA: English Broadside Ballad Archive (University of California, Santa Barbara), online resource: http://ebba.english.ucsb.edu.

Eccles, Mark. “George Whetstone in Star Chamber,” Review of English Studies 33 (1982): 385–95.

———. “Martin Peerson and the Blackfriars,” Shakespeare Survey 11 (1958): 100–06.

———. “Mary Frith, the Roaring Girl,” Notes and Queries 32 (1985): 65–66.

———. “Thomas Middleton a Poett,” Studies in Philology 54 (1957): 516–36.

Edgerton, William L. Nicholas Udall. New York: Twayne, 1965.

EEBO: Early English Books Online (Chadwyck-Healey), online resource: http://eebo.chadwyck.com. Estill, Laura. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Newark: University of Delaware Press, 2015.

Faber, Paul Lewis. “Popular song in early modern drama 1580–1620,” (PhD diss., University of Leeds, 2013).

Fallows, David, ed. The Henry VIII Book. Oxford: Digital Image Archive of Medieval Music, 2014.

———. “English Song Repertories of the Mid-Fifteenth Century,” Proceedings of the Royal Musical Association 103 (1976): 61–79.

———. “Henry VIII as a composer,” in Sundry Sorts of Music Books: Essays on the British Library Collections: Presented to O. W. Neighbour on his 70th birthday, ed. C. Banks , A. Searle and M. Turner, 27–39. London: British Library, 1993.

———. “The Gresley Dance Collection, c.1500,” Royal Musical Association Research Chronicle 29 (1996): 1–20.

Fenn, Robert D. “William Percy’s Aphrodysial: An Old Spelling Edition” (MA Thesis, University of Saskatchewan, Saskatoon, 1990).

Feuillerat, Albert, ed. Documents relating to the Office of the Revels in the time of Queen Elizabeth. Louvain: A. Uystpruyst, 1908.

———, ed. Documents Relating to the Revels at Court in the Time of King Edward VI and Queen Mary. Louvain: A. Uystpruyst, 1914.

Finkelpearl, Philip J. “John Marston’s ‘Histrio-Mastix’ as an Inns of Court Play: A Hypothesis,” Huntington Library Quarterly 29 (1966): 223–34.

———. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton: Princeton University Press, 1990.

Flynn, Jane. “The Education of Choristers in England during the Sixteenth Century,” in English Choral Practice, 1400–1650, ed. John Morehen, 180–99. Cambridge: Cambridge University Press, 1995.

———. “Thomas Mulliner: An Apprentice of John Heywood?” in Young Choristers, 650–1700, ed. Susan Boynton and Eric Rice, 173–194. Woodbridge: Boydell, 2008.

Foakes, R. A. Henslowe’s Diary, 2nd edition. Cambridge: Cambridge University Press, 2002.

Fox, Adam. Oral and Literate Culture in England, 1500–1700. Oxford: Oxford University Press, 2000.

Fuller, David. “Ben Jonson’s plays and their contemporary music,” Music & Letters 58 (1977): 60– 75. Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553–1608. Cambridge: Cambridge University Press, 1982.

———. “Conditions of Appointment for Masters of Choristers at Paul’s (1553–1613),” Notes and Queries 27 (1980): 116–24.

Gayley, Charles Mills. Francis Beaumont: Dramatist. London: Duckworth, 1914.

Giles-Watson, Maura. “The Singing ‘Vice’: Music and Mischief in Early English Drama, Early Theatre 12 (2009): 57–90.

Gill, Donald. “The Skene Mandora Manuscript,” Lute Society Journal 28 (1988): 19–33.

Griffioen, Ruth van Baak. “Jacob van Eyck’s Der Fluyten Lust-Hof (1644–c1655)” (PhD diss., Stanford University, 1988).

Grose, Thomas. A Classical Dictionary of the Vulgar Tongue. 2nd ed. London, 1788.

Guinle, Francis. “The Songs in a Sixteenth-Century Manuscript Play: The Bugbears, by John Jeffere,” in Cahiers Elisabéthains 21 (1982): 13–26.

———. “Songs in Tudor Drama: Forms and Meaning,” Medieval English Theatre 16 (1994): 91– 115.

Gurr, Andrew. Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 2004.

———. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.

———. Gurr, Andrew. The Shakespearian Playing Companies. Oxford: Oxford University Press, 1996.

Happé, Peter. English Drama before Shakespeare. London: Longman, 1999.

———. Song in Morality Plays and Interludes. Lancaster: University of Lancaster, 1991.

———. “Spectacle in Bale and Heywood,” Medieval English Theatre 16 (1994): 51–65.

———. “Theatricality in Classical Comedy and the English Interlude: Jack Juggler,” in European Medieval Drama 16 (2012): 99–113.

———. The Towneley Cycle: Unity and Diversity. Cardiff: University of Wales Press, 2007.

———. “Two Jacobean Songs,” Early Music 6 (1978): 385–89.

Harley, John. “Two Jacobean Songs,” Early Music 6 (1978): 385–89.

Harper, Sally. “An Elizabethan Tune List from Lleweni Hall, North Wales,” Royal Musical Association Research Chronicle 38 (2005): 45-98. Heartz, Daniel. “A 15th-century Ballo: Rôti boulli joyeux,” in Aspects of Medieval and Renaissance Music, ed. Jan LaRue, 359–75. New York: W. W. Norton, 1966.

Helms, Dietrich, Heinrich VIII. und die Musik: Überlieferung, musikalische Bildung des Adels und Kompositionstechniken eines Königs. Eisenach: K. D. Wagner, 1998.

———. “Henry VIII’s Book: Teaching Music to Royal Children,” Musical Quarterly 92 (2009): 118–35.

Henke, Robert. “Border-Crossing in the Commedia dell’Arte,” in Transnational Exchange in Early Modern Theater, ed. Robert Henke and Eric Nicholson, 19–34. Aldershot: Ashgate, 2008.

Henze, Catherine A. “How music matters: Some songs of Robert Johnson in the plays of Beaumont and Fletcher,” Comparative Drama 34 (2000): 1–32.

———. “Unraveling Beaumont from Fletcher with Music, Misogyny, and Masque,” Studies in English Literature, 1500–1900 44 (2004): 379–404.

Hillebrand, Harold N. “William Percy: An Elizabethan Amateur,” Huntington Library Quarterly 1 (1938): 391–416.

———. The Child Actors: A Chapter in Elizabethan Stage History. Urbana: University of Illinois Press, 1926.

Hoenselaars, A. J. Images of Englishmen and Foreigners in the Drama of Shakespeare and his Contemporaries. Rutherford, NJ: Fairleigh Dickinson University Press, 1992.

Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court 1540–1690. Oxford: Oxford University Press, 1993.

Honigman, E. A. J., and Susan Brock, Playhouse Wills, 1558–1643. Manchester: Manchester University Press, 1993.

Hosley, Richard. “The Formal Influence of Plautus and Terence,” in Elizabethan Theatre. Vol. 9 of Stratford-upon-Avon Studies, 131–45. London: Edward Arnold, 1966.

Hoy, Cyrus. “The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon,” Studies in Bibliography 11 (1958): 77–108.

Hudson, Frederick. “Robert White and his Contemporaries: Early Elizabethan Music and Drama,” in Festschrift für Ernst Hermann Meyer, ed. Georg Knepler, 163–87. Leipzig: Deutscher Verlag für Musik, 1973.

Hughes, Leo. A Century of English Farce. Princeton: Princeton University Press, 1956.

Ingram, R. W. “The Use of Music in the Plays of Marston,” Music & Letters 37 (1956): 154–164. Jeffrey, Brian. French Renaissance Comedy, 1552–1630. Oxford: Oxford University Press, 1969.

Johnson, Robert Carl. John Heywood. New York: Twayne, 1970.

Jorgens, Elise Bickford. English Song 1600–1675. 12 vols. New York: Garland, 1986–1989.

Jowett, John. “Middleton’s Song of Cupid,” Notes and Queries 41 (1994): 66–70.

Kathman, David “Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater,” Shakespeare Quarterly 55 (2004): 1–49.

Ketterer, Elizabeth. “‘Govern’d by stops, aw’d by dividing notes’: The Functions of music in the extant repertory of the Admiral’s Men, 1594–1621” (PhD diss., University of Birmingham, 2009).

Katritzky, M.A. The Art of Commedia. Amsterdam: Rodopi, 2006.

Kincaid, Patrick C. “A critical edition of William Percy’s The Cuckqueans and Cuckolds Errants,” (PhD. diss., Birmingham University, 1999).

King, Pamela. “John Heywood, the Play of the Weather,” in The Oxford Handbook of Tudor Drama, ed. Thomas Betteridge and Greg Walker, 207–23. Oxford: Oxford University Press, 2012.

King, Ros. The Works of Richard Edwards. Manchester: Manchester University Press, 2001.

Kisby, Fiona. “A Courtier in the Community: New Light on the Biography of William Cornish, Master of the Choristers in the English Chapel Royal, 1509–23,” Bulletin of the Society for Renaissance Studies 16 (1999): 8–17.

Klausner, David N., ed. Two Moral Interludes: The Pride of Life, and Wisdom. Kalamazoo: Medieval Institute Publications, 2009.

Knutson, Roslyn L. “‘Histrio-Mastix’: Not by John Marston,” Studies in Philology 98 (2001): 359– 77.

Lamb, Edel. Performing Childhood in the Early Modern Theatre: The Children’s Playing Companies (1599–1613). Basingstoke: Palgrave Macmillan, 2009.

Lasocki, David. The Bassanos: Venetian musicians and instrument makers in England, 1531-1665. Aldershot: Scolar, 1995.

Lawless, Donald S. Philip Massinger and his Associates. Muncie, Indiana: Ball State University Press, 1967.

Lea, K. M. Italian Popular Comedy. Oxford: Oxford University Press, 1934.

Leaver, Robin A. ‘Goostly Psalmes and Spirituall Songes’: English and Dutch Metrical Psalms from Coverdale to Utenhove, 1553–1566. Oxford: Oxford University Press, 1991. Lennam, Trevor. Sebastian Westcott, the Children of Paul’s and “The Marriage of Wit and Science.” Toronto: University of Toronto Press, 1975.

Limon, Jerzy. Gentlemen of a Company: English Players in Central and Eastern Europe, 1590–1660. Cambridge: Cambridge University Press, 1985.

Lindley, David. Shakespeare and Music. London: Arden Shakespeare, 2006.

Lindsey, Edwin S. “The Music in Ben Jonson’s plays,” Modern Language Notes 44 (1929): 86–92.

———. “The Original Music for Beaumont’s Play ‘The Knight of the Burning Pestle’,” Studies in Philology 26 (1929): 425–43.

———. “The Music of the Songs in Fletcher’s Plays,” Studies in Philology 21( 1924): 325–355.

Long, John H. “The Music in Percy’s Play Manuscripts,” Renaissance Papers 1980, 39–44.

Mack, Maynard Jr. “The Second Shepherds’ Play: A Reconsideration,” Proceedings of the Modern Language Association 93 (1978): 78–85.

MacLure, Millar. George Chapman: A Critical Study. Toronto: University of Toronto Press, 1966.

MacNeil, Anne. Music and Women of the Commedia dell’arte in the Late Sixteenth Century. Oxford: Oxford University Press, 2003.

Mangsen, Sandra. Songs without Words: Keyboard Arrangements of Vocal Music in England, 1560– 1760. Rochester: University of Rochester Press, 2016.

Marotti, Arthur F. Manuscript, Print, and the English Renaissance Lyric. Ithaca: Cornell University Press, 1995.

Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2013.

Masten, Jeffrey A. “Beaumont and/or Fletcher: Collaboration and the Interpretation of Renaissance Drama,” English Literary History 59 (1992): 337–56.

Maxwell, Ian. French Farce & John Heywood. Melbourne: Melbourne University Press, 1946.

McFeely, Julia Craig. “English Lute Manuscripts and Scribes 1530–1630” (Ph.D. diss., Oxford University, 1993).

Meagher, John C. Pursuing Shakespeare’s Dramaturgy: Some Contexts, Resources and Strategies in His Playmaking. London: Associated University Presses, 2003.

Miller, Edward. “A Collection of Elizabethan and Jacobean Plays at Petworth,” in The National Trust Year Book, 1975–76, 62–64. London: The National Trust, 1975. Milsom, John. “Songs and Society in Early Tudor London,” Early Music History 16 (1997): 235–93.

Monson, Craig. Voices and Viols in England, 1600–1650: The Sources and the Music. Ann Arbor: UMI Research Press, 1982.

Moore, John Robert. “The Songs in Lyly’s Plays,” Proceedings of the Modern Language Association 42 (1927): 623–40.

———. “The Songs of the Public Theaters in the Time of Shakespeare,” Journal of English and Germanic Philology 28 (1929): 166–202.

Munro, Lucy. Children of the Queen’s Revels: A Jacobean Theatre Repertory. Cambridge: Cambridge University Press, 2005.

———. “Music and Sound,” in The Oxford Handbook of Early Modern Theatre, ed. Richard Dutton, 543–59. Oxford: Oxford University Press, 2011.

Nicholls, Mark. “The Enigmatic William Percy,” Huntington Library Quarterly (2007): 469–77.

Norland, Howard B. Drama in Early Tudor Britain, 1485–1558. Lincoln: University of Nebraska Press, 1995.

Nosworthy, J. M. “An Elizabethan Jig.” Vol. 9 of Malone Society Collections, 24–29. Oxford: Malone Society, 1971 [1977].

O’Neill, David G. “The Influence of Music in the Works of John Marston,” Music & Letters 53 (1972): 122–33, 293–308, 400–10.

Orr, David. Italian Renaissance Drama in England before 1625. Chapel Hill: University of North Carolina Press, 1970.

Osborn, James M., ed. The Autobiography of Thomas Whythorne. Oxford: Oxford University Press, 1961.

Payne, Ian. The Almain in Britain, c.1549–1675. Aldershot: Ashgate, 2003.

Perret, Donald. Old Comedy in the French Renaissance, 1576–1620. Geneva: Librairie Droz, 1992.

Petter, Christopher Gordon. A Critical Old Spelling Edition of the Works of Edward Sharpham. New York: Garland, 1986.

Powell, John S. Music and Theatre in France, 1600–1680. Oxford: Oxford University Press, 2000.

Prior, Roger. “Jewish Musicians at the Tudor Court,” Musical Quarterly 69 (1983): 253–65.

Quitslund, Beth The Reformation in Rhyme: Sternhold, Hopkins, and the English Metrical Psalter, 1547–1603. Aldershot: Ashgate, 2008. Rastall, Richard. Minstrels Playing: Music in Early English Religious Drama 2. Cambridge: D. S. Brewer, 2001.

———. The Heaven Singing: Music in Early English Religious Drama 1. Cambridge: D. S. Brewer, 1996.

Ravelhofer, Barbara. “Middleton and Dance,” in The Oxford Handbook of Thomas Middleton, ed. Gary Taylor and Trish Thomas Henley, 130–47. Oxford: Oxford University Press, 2012.

Records of Early English Drama. 46 vols. to date. Toronto: University of Toronto Press, 1979–.

Reed, Arthur William. Early Tudor Drama. London: Methuen, 1926.

Rimbault, Edward F. Musical Illustrations of Bishops Percy’s Reliques of Ancient English Poetry. London, 1850.

Robinson, J. W. Studies in Fifteenth-Century Stagecraft. Kalamazoo: Medieval Institute Publications, 1991.

Rollins, Hyder E. A Pepysian Garland: Black-letter Broadside Ballads of the Years 1596–1639. Cambridge: Cambridge University Press, 1922.

———. An Analytical Index to the Ballad Entries (1557-1709) in the Registers of the Company of Stationers of London. Chapel Hill: University of North Carolina Press, 1924.

———. “A Note on Richard Edwards,” The Review of English Studies 4 (1928): 204–206.

———. “A ‘Recovered’ Elizabethan Ballad,” The Review of English Studies 3 (1927): 335–337.

———. “Notes on the ‘Shirburn Ballads’,” The Journal of American Folklore 30( 1917): 370–377.

———. “The Date, Authors, and Contents of A Handfull of Pleasant Delights,” Journal of English and Germanic Philology 18 (1919): 1–17.

———. “William Elderton: Elizabethan Actor and Ballad-Writer,” Studies in Philology 17 (1920): 199–245.

Romey, John A. “From the Street to the Stage: Popular Song and the Construction of Parisian Spectacle, 1648–1713” (PhD diss., Case Western Reserve University, 2018).

Rowland, Richard. Thomas Heywood’s Theatre, 1599–1639: Locations, Translations, and Conflict. Farnham: Ashgate, 2010.

Rycroft, Eleanor. “The Play of The Weather in Performance in the Great Hall at Hampton Court,” Medieval English Theatre 31 (2009): 13–27.

Sabol, Andrew J. “A newly discovered contemporary song setting for Jonson’s Cynthia’s Revels,” Notes and Queries, New Ser., 5, No. 9 (1958): 384–85. ———. “A Three-Man Song in Fulwell’s Like Will to Like at the Folger,” Renaissance News 10 (1957): 139–42.

———, and Gary Taylor. “Middleton: Music and Dance,” in Thomas Middleton and Early Modern Textual Culture, ed. Gary Taylor and John Lavagnino, 119–81. Oxford: Oxford University Press, 2007.

———. “Ravenscroft’s ‘Melismata’ and the Children of Paul’s,” Renaissance News 12 (1959): 3–9.

———. “Two songs with accompaniment for an Elizabethan choirboy play,” Studies in the Renaissance 5 (1958): 145–59.

———. “Two unpublished stage songs for the ‘Aery of Children’,” Renaissance News (1960): 222– 32.

Schleuse, Paul. Singing Games of Early Modern Italy: The Music Books of Orazio Vecchi. Bloomington: Indiana University Press, 2015.

Schrickx, Willem. Foreign Envoys and Traveling Players in the Age of Shakespeare and Jonson. Wetteren: Universa, 1986.

Seligmann, Raphael. “The Functions of Song in the Plays of Thomas Middleton” (PhD diss., Brandeis University, 1997).

Shapiro, Michael. “A Song in ‘Damon and Pithias’,” Music & Letters 49 (1968): 304–06.

———. Children of the Revels. New York: Columbia University Press, 1977.

———. “Music and Song in Plays Acted by Children’s Companies during the English Renaissance,” Current Musicology 7 (1968): 97–110.

Simpson, Claude M. The British Broadside Ballad and its Music. New Brunswick, NJ: Rutgers University Press, 1966.

Sisson, C. J. Lost Plays of Shakespeare’s Age. Cambridge: Cambridge University Press, 1936.

Skinner, David. “William Cornysh: Clerk or Courtier?” The Musical Times 138 (1997): 5–12.

Spohr, Arne. ‘How chances it they travel?’ Englische Musiker in Dänemark und Norddeutschland, 1579–1630. Wiesbaden: Harrassowitz, 2009.

Sprague, Arthur Colby. Beaumont and Fletcher on the Restoration Stage. Cambridge, MA: Harvard University Press, 1926.

Spring, Matthew. The Lute in Britain. Oxford: Oxford University Press, 2006.

Stern, Tiffany. Documents of Performance in Early Modern England. Cambridge: Cambridge University Press, 2009. ———. “‘I have both the note, and dittie about me’: Songs on the Early Modern Page and Stage,” Common Knowledge 17 (2011): 306–20.

———. Making Shakespeare: From Stage to Page. London: Routledge, 2004.

———. “Middleton’s Collaborators in Music and Song,” in The Oxford Handbook of Thomas Middleton, ed. Gary Taylor and Trish Thomas Henley, 64–79. Oxford: Oxford University Press, 2012.

———. Rehearsal from Shakespeare to Sheridan. Oxford: Oxford University Press, 2000.

———. “Repatching the Play,” in From Script to Stage in Early Modern England, ed. Margreta de Grazia and Stanley Wells, 151–77. New York: Palgrave Macmillan, 2004.

———, and Simon Palfrey. Shakespeare in Parts. Oxford: Oxford University Press, 2007.

———. “The theatre of Shakespeare’s London,” in The New Cambridge Companion to Shakespeare, ed. Peter Holland and Stephen Orgel, 45–59. Cambridge: Cambridge University Press, 2010.

Sternfeld, Frederick W. “Song in Jonson’s Comedy: A Gloss on Volpone,” in Studies in the English Renaissance Drama, ed. Josephine W. Bennett, Oscar Cargill, and Vernon Hall, Jr., 310–21. New York: New York University Press, 1959.

Stevens, John. “Music in Medieval Drama,” Proceedings of the Royal Musical Association 84 (1958): 81–95.

———. Music and Poetry at the Early Tudor Court. London, 1961.

Stopes, Charlotte. William Hunnis and the Revels of the Chapel Royal. Louvain, 1910.

Streitberger, W. R. Court Revels, 1485–1559. Toronto: University of Toronto Press, 1994.

Swaen, A. E. H. “Ballads, Tunes and Dances in Nash’s Works,” Neophilologus 5 (1920): 40–46.

Taylor, Gary, and John Jowett, Shakespeare Reshaped, 1606–23. Oxford: Oxford University Press, 1993.

———, and John Lavagnino, eds. Thomas Middleton and Early Modern Textual Culture. Oxford: Oxford University Press, 2007.

Temperley, Nicholas. “‘All skillful praises sing’: how congregations sang the psalms in early modern England,” Renaissance Studies 29 (2015): 531–53.

———. The Hymn Tune Index: a census of English-language hymn tunes in printed sources from 1535 to 1820. Oxford: Oxford University Press, 1998.

Vlasto, Jill. “An Elizabethan Anthology of Rounds,” The Musical Quarterly 40 (1954): 222–34. Wallace, Charles William. The Evolution of the English Drama up to Shakespeare. Berlin: G. Reimer, 1912.

Walls, Peter. Music in the English Courtly Masque, 1604–1640. Oxford: Oxford University Press, 1996.

———. “New Light on Songs by William Lawes and John Wilson,” Music & Letters 57 (1976): 55– 64.

Ward, John M. “And who but Ladie Greensleeues?” in The Well Enchanting Skill: Essays in Honour of Frederick W. Sternfeld, ed. John Caldwell, Edward Olleson, and Susan Wollenberg, 181–211. Oxford: Oxford University Press, 1990.

———. “Apropos The British Broadside Ballad and its Music,” Journal of the American Musicological Society 20 (1967): 28–86.

———. “Barley’s Songs without Words,” Lute Society Journal 12 (1970): pp. 1–24.

———. “Joan qd John and Other Fragments at [Case] Western Reserve University,” in Aspects of Medieval and Renaissance Music, ed. Jan LaRue, 832–55. New York: W. W. Norton, 1966.

———. “Music for A Handefull of Pleasant Delites,” Journal of the American Musicological Society 10 (1957): 151–80.

———. Music for Elizabethan Lutes. 2 vols. Oxford: Oxford University Press, 1992.

———. “Newly devis’d Measures for Jacobean Masques,” Acta Musicologica 60 (1988): 111–42.

———. “The English Measure,” Early Music 14 (1986): 15–21.

———. “The Morris Tune,” Journal of the American Musicological Society 39 (1986): 294–331.

Wickham, Glynne. Plays and their Makers to 1576. Vol. 3 of Early English Stages 1300 to 1600. London: Routledge, 1981.

Williams, Margaret Ellen. “A Play is not so ydle a thing: The Dramatic Output and Theatre-Craft of Nathan Field” (PhD diss, University of Birmingham, 1992).

Wilson, Christopher R. “Elgar, Naylor and ‘The Cobbler’s Jig’: An enquiry reopened,” Music & Letters 74 (1993): 39–43.

———, and Michela Calore. Music in Shakespeare: A Dictionary. London: Continuum, 2007.

———. Shakespeare’s Musical Imagery. London: Continuum, 2011.

———. “Words and notes coupled lovingly together: Thomas Campion: a critical study” (PhD diss., Oxford University, 1981). Wong, Katrine K. “A Dramaturgical Study of Merrythought’s Songs in The Knight of the Burning Pestle,” Early Theatre 12 (2009): 91–116.

———. “Theatrical aspects and meanings of music in English Renaissance drama” (PhD diss., University of Leeds, 2008).

Wright, Thomas. Songs and Ballads, chiefly of the Reign of Philip and Mary. London: J. B. Nichols, 1860.

Yates, Frances. “English Actors in Paris during the Lifetime of Shakespeare,” The Review of English Studies 1 (1925): 392–403.