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Bibliography of Secondary Sources 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
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