First Published in 2002. This guide introduces students and scholars to the literature on Palestrina as well as the complicated history of the publication of his works. This bibliography is divided into four primary sections: historical background on musical, social, and cultural life; biographical literature; studies of sources, music, and style; and reception history. They are divided roughly into the periods dating from Palestrina's lifetime to about 1750; from about 1750 to about 1914; from 1914 to the present. This title also contains historical research on performance conditions and practices as they would have applied in Palestrina's time.

John Harley’s Thomas Tallis is the first full-length book to deal comprehensively with the composer’s life and works. Tallis entered the Chapel Royal in the middle of a long life, and remained there for over 40 years. During a colourful period of English history he famously served King Henry VIII and the three of Henry’s children who followed him to the throne. His importance for English music during the second half of the sixteenth century is equalled only by that of his pupil, colleague and friend William Byrd. In a series of chronological chapters, Harley describes Tallis’s career before and after he entered the Chapel. The fully considered biography is placed in the context of larger political and cultural changes of the period. Each monarch’s reign is treated with an examination of the ways in which Tallis met its particular musical needs. Consideration is given to all of Tallis’s surviving compositions, including those probably intended for patrons and amateurs beyond the court, and attention is paid to the context within which they were written. Tallis emerges as a composer whose music displays his special ability in setting words and creating ingenious musical patterns. A table places most of Tallis’s compositions in a broad chronological order.

This book looks at the work of one of England's finest composers, William Lawes. It provides a contextual examination of music at the court of Charles I, a detailed study of Lawes's autograph sources and an examination of his consort music.

The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology. Once a field that addressed music’s socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches. Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject’s rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!

The Ashgate Research Companion to Henry Purcell provides a comprehensive and authoritative review of current research into Purcell and the environment of Restoration music, with contributions from leading experts in the field. Seen from the perspective of modern, interdisciplinary approaches to scholarship, the companion allows the reader to develop a rounded view of the environment in which Purcell lived, the people with whom he worked, the social conditions that influenced his activities, and the ways in which the modern perception of him has been affected by reception of his music after his death. In this sense the contributions do not privilege the individual over the environment: rather, they use the modern reader's familiarity with Purcell's music as a gateway into the broader Restoration world. Topics include a reassessment of our understanding of Purcell's sources and the transmission of his music; new ways of approaching the study of his creative methods; performance practice; the multi-faceted theatre environment in which his work was focused in the last five years of his life; the importance of the political and social contexts of late seventeenth-century England; and the ways in which the performance history and reception of his music have influenced modern appreciation of the composer. The book will be essential reading for anyone studying the music and culture of the seventeenth century.