EARLY MUSIC HISTORY

EARLY MUSIC HISTORY

PER. GB. 10

-ABRAMOV-VAN RIJIK (E.), The madrigal Aquil’altera by Jacopo da Bologna and intertextual relationships in the musical repertory of the Italian Trecento, Vol. 28 (2009), pp. 1-38

-ADAMS (M.), Henry Purcell: The Origins and Development of His Musical Style – Rebecca Herissone, Vol. 13 (1996), pp. 270-276

-AGEE (R.J.), Costanzo Festa’s Gradus ad Parnassum, Vol. 15 (1996), pp. 1-58

  • The Venetian privilege and music-printing in the sixteenth century, Vol. 3 (1983), pp. 1-42

-ANDERSON (M.A.), Fire, foliage and fury: Vestiges of Midsummer ritual in motets for John the Baptist, Vol. 30 (2011), pp. 1-54

– ARNOLD (D.), Giovanni Gabrieli and the Music of the Venetian High Renaissance, Vol. 1 (1981), pp. 345-353

-ATKINSON (C.M.), Franco of Cologne on the rhythm of organum purum, Vol. 9 (1990), pp. 1-26

-ATLAS (A.), Music at the Aragonese Court of Naples, Vol.7 (1987), pp. 248-254

-AUBREY (E.), The dialectic between Occitania and France in the thirteenth century, Vol. 16 (1997), pp. 1-54

-BACON (C.K.), Bach’s Changing World: Voices in the Community & Butler (G.G.), J.S. Bach’s Concerted Ensemble Music: The Ouverture – John Butt, Vol. 26 (2007), pp. 271-282

-BAKER (G.), Imposing Harmony: Music and Society in Colonial Cuzco – Javier Marìn-Lòpez, Vol. 28 (2009), pp. 285-300

-BARBIERI (P.) & TALBOT (M.), A gentleman in exile: Life and background of the composer John Ravenscroft, Vol. 31 (2012), pp. 3-36

-BARRETT (S.), Music and writing: On the compilation of Paris, Bibliothèque Nationale lat. 1154, Vol. 16 (1997), pp. 55-96

-BARKER (A.), The Science of Harmonics in Classical Greece – Liba Taub, Vol. 27 (2008), pp. 287-293

-BECK (E. M.), Giotto’s Harmony: Music and Art in Padua at the Crossroads of the Renaissance – Julian Gardner, Vol. 25 (2006), pp. 330-333

 

-BENT (M.), Deception, exegesis and sounding number in Mauchaut’s motet 15, Vol. 10 (1991), pp. 15-28

  • Diatonic ficta, Vol.4 (1984), pp. 1-47
  • Facsimiles of the Squarcialupi MS and other sources (The Lucca Codex, ed. J. Nàdas and A. Ziino; il Codice Rossi 215, ed. N. Pirrotta; Il Codice T. III.2, ed. A. Ziino; Il Codice Squarcialupi, ed. F. A. Gallo), Vol. 15 (1996), pp. 251-270

-BENT (M.) & BROWN (R.), The Saxilby fragment, Vol. 1 (1981), pp. 1-27

-BERGER (K.), Theories of Chromatic and Enharmonic Music in Late 16th Century Italy, Vol. 2 (1982) , pp. 377-404

-BERGER (A. M. B.), Medieval Music and the Art of Memory – William Flynn and Jane Flynn, Vol. 28 (2009), pp. 249-262

-BERNSTEIN (L.F.), A Florentine chansonnier of the early sixteenth century: Florence, Biblioteca Nazionale Centrale, MS Magliabechi XIX 117, Vol. 6 (1986), pp. 1-108

-BIANCONI (L.) & WALKER (T.), Production, consumption and political function of seventeenth-century Italian opera, Vol. 4 (1984), pp. 209-296

-BLACKBURN (B.), A lost guide to Tinctoris’s teachings recovered, Vol. 1 (1981), pp. 29-116

  • Music for Treviso Cathedral in the Late Sixteenth Century: A Reconstruction of the Lost Manuscripts 29 and 30, Vol.9 (1990), p 251-259
  • Music and festivities at the court of Leo X: a Venetian view, Vol. 11 (1992), pp. 1-38

-BLACKBURN (B.) & LOWINSKY (E. E.) & MILLER (C. A.), A Correspondence of Renaissance, Vol. 6 (1993), pp. 191-203

-BOE (J.), The Beneventan apostrophes in south Italian notation, A.D. 1000-1100, Vol. 3 (1983), pp. 43-65

-BLOXAM (M.J.), “La contenance italienne”: the motets on Beata es Maria by Compère, Obrecht and Brumel, Vol. 11 (1992), pp. 39-90

-BOORMAN (S.), Some non-conflicting attributions, and some newly anonymous compositions, from the early sixteenth century, Vol. 6 (1986), pp. 109-158

  • Studies in the Performance of Late Mediaeval Music, Vol. 4 (1984), pp. 347-354

-BORGHETTI (V.), Fors seulement l’actente que je meure: Ockeghem’s rondeau and the gendered rhetoric to grief, Vol. 31 (2011), pp. 37-86

-BOWERS (R.), Guillaume de Machaut and his canonry of Reims, 1338-1377, Vol. 23 (2004), pp. 1-48

-BOWERS (R.) & WATHEY (A.), New soureces of English fourteenth- and a fifteenth-century polyphony, Vol. 3 (1983), pp. 123-173

  • New soureces of English fourteenth- and a fifteenth-century polyphony, Vol. 3 (1983), pp. 297-345

-BRADLEY (C. A.), Contrafacta and trascrubed Motets: Vernacular influences on Latin motets and clausulae in the Florence manuscript, vol.32 (2013), pp. 1-70

-BRAND (B.), John Hothby and the cult of St Regulus at Lucca, Vol. 27 (2008), pp. 1-46

– BROBECK (J.), A music book for Mary Tudor, queen of France, Vol. 35(2016), pp. 1-93

-BROOKS (J.), Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson, Vol. 13 (1994), pp. 65-83

  • Jean de Castro, the Pense partbook and muscial culture in sixteenth-century Lyons, Vol 11 (1992), pp. 91-150

-BROOKES (V.), British Keyboard Music to c. 1600: Sources and Thematic Index – Alan Brown, Vol. 16 (1997), pp. 295-302

-BROWN (H.M.), Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century, Vol. 13 (1994), pp. 1-64

-BROWN (H.M.), A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229, Vol. 6 (1986), pp. 303-316

-BROWNLEE (K.), Machaut’s motet 15 and the Roman de la rose: the literary context of Amours qui a le pouoir/Faus Samblant m’a deceü/Vidi Dominum, Vol. 10 (1991), pp. 1 – 14

-BRUNNER (L.W.), A perspective on the southern Italian sequence: the second tonary of the manuscript Monte Cassino 318, Vol. 1 (1981), pp. 117-164

-BRYANT (D.), The cori spezzati of St Mark’s: myth and reality, Vol. 1 (1981), pp. 165-186

-BRYANT (D.) & POZZOBON (M.), Musica devozione città: La Scuola di Santa Maria dei Battuti (e un suo manoscritto musicale) nella Treviso del Rinascimento – Jonathan E. Glixon, Vol. 16 (1997), pp. 10-318

-BUJIĆ (B.), “Figura poetica molto vaga”: structure and meating in Rinuccini’s Euridice, Vol. 10 (1991), pp. 29-64

-BURNETT (C.), European knowledge of Arabic texts referring to music: some new material, Vol. 12 (1993), pp. 1-18

-BURROWS (D.), Handel and the English Chapel Royal – John Butt, Vol. 25 (2006), pp. 323-330

-CALDWELL (M.C.), “Flower of the lily”: Late-medieval religious and heraldic symbolism in Paris, Bibliothèque nationale de France, MS français 146, Vol. 33 (2014), pp. 1-60

-CANGUILHEM (P.), Lorenzo Corsini’s “Libri di canzone” and the madrigal in mid-sixteenth-century Florence, Vol. 25 (2006), pp. 1-58

  • Singing upon the book according to Vicente Lusitano, Vol. 30 (2011), pp. 55-104

-CARBONI (F.) & ZIINO (A.), Polyphonic laude and hymns in a Franciscan codex from the end of the fifteenth century, Vol. 31 (2012), pp. 87-151

-CARDAMONE (D.G.) & CORSI (C.), The canzone villanesca and comic culture: the genesis and evolution of a mixed genre (1537-1557), Vol. 25 (2006), pp. 59-104

– CARTER (S.), “Yong beginners, who live in the countrey”: John Playford and the printed music market in seventeenth-century England, Vol. 35 (2016), pp. 95-129

-CARTER (T.), Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni, Vol. 9 (1990), pp. 27-72

-CARTER (T.), Monteverdi’s Musical Theatre – Giuseppe Gerbino, Vol. 23 (2004), pp. 318-324

-CARVER (A. F.), Cori spezzati, Vol. 7 (1990), pp. 260-266

-CEULEMANS (A.E.), Instruments real and imaginary: Aaron’s interpretation of Isidore and an illustrated copy of the Toscanello, Vol. 21 (2002), pp. 1-36

-CHAFFE (E.), Analyzing Bach Cantatas – John Butt, Vol.21, pp. 283-290

-CHIU (R.), Music, pestilence and two settings of O beate Sebastiene, Vol. 31 (2012), pp. 153

-CONOMOS (D.), Experimental polyphony, “according to the … Latins”, in late Byzantine psalmody, Vol. 2 (1982), pp. 1-16

-CUMMINGS (A.M.), Giulio de’ Medici’s music books, Vol. 10 (1991), pp. 65-122

-CUNNINGHAM (J.), The Consort Music of William Laws 1602-1645 – Jonathan Wainwright, Vol. 31 (2012), pp. 285-290

– CUTTER (P. F.), Musical Sources of the Old-Roman Mass, Vol. 2 1982, pp.363-367

-DESMOND (K.), Refusal, the look of love and the beastly woman of Machaut’s balades 27 and 38, vol. 32 (2013), pp.71-118

-DICKEY (T.J.), Rethinking the Sirena choirbook: a new date and implications for ist musical contents, Vol. 24 (2005), pp. 1-52

-DILLON (E.), The Sense of Sound: Musical Meaning in France 1260-1330 – Jeremy Llewellyn, Vol. 33(2014), pp. 271-276

-DOBBINS (F.), Music in French Theatre  of Late Sixteenth Century, Vol. 13 (1994), pp. 85-121

-DUFFIN (R.W.), Voices and viols, Bibles and bindings: The origins of the Blossom partbooks, Vol. 33 (2014), pp. 61-108

-DYER (J.), Tropis semper variantibus: Compositional strategies in the offertories of Old Roman chant, Vol. 16 (1997), pp. 1-60

-EVERIST (M.), “Souspirant en terre estrainge”: The polyphonic rondeau from Adam de la Halle to Guillaume de Machaut, Vol. 26 (2007), pp. 1-43

  • The polyphonic rondeau c. 1300: Repertory and context, Vol. 15 (1996), pp. 59-96
  • Le Magnus Liber Organi de Notre-Dame de Paris, vols. ii-iv – Nicolas Bell, Vol. 25 (2006), pp. 309-322

-FABBRI (M.) & NADAS (J.), A newly discovered Trecento fragment: scribal concordances in late-medieval Florentine manuscripts, Vol. 3 (1983), pp. 67-82

-FALLOWS (D.), Two equal voices: a French song repertory with music for two more works of Oswald von Wolkenstein, Vol. 7 (1987), pp. 227

  • Josquind. Turnhout, Centre d’Études Supérieures de la Renaissance, Brepols, 2009 – Sean Gallagher, pp. 344-350

-FARAHAT (M.), On the staging of madrigal comedies, Vol. 10 (1991), pp. 123-144

-FELDMAN (M.), City Culture and the Madrigal at Venice – James Haar, Vol. 16 (1997), pp. 318-328

-FILIPPI (D. V.), A sound doctrine: Early modern Jesuits and the singing of the catechism, vol. 34 (2015) pp.1-44

-FIsher (A. J.), Thesaurus litaniarum: The symbolism and practice of musical litanies in Counter-Reformation Germany, vol. 34 (2015), pp. 45-96

-FORNEY (K.K.), Music, ritual and patronage at the Church of Our Lady, Antwerp, Vol. 7 (1987), pp. 1-58

-FRANDSEN (M.E.), Eunuchi conjugium: the marriage of a castrato in early modern Germany, Vol. 24 (2005), pp. 53-124

-FREEDMAN (R.), Claude Le June, Adrian Willaert and the Art of Musical Translation, Vol. 13 (1994), pp. 123-148

  • The Chansons of Orlando di Lasso and their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France, and JEANICE BROOKS, Courtly Song in Late Sixteenth-Century France – Rebecca Wagner Oettinger, Vol. 21 (202), pp. 259-283

-FULLER (S.), Modal discourse and fourteenth-century French song: A “medieval” perspective recovered?, Vol. 16 (1997), pp. 61-108

-GALLAGHER (S.), Johannes Regis – David Fallows, Vol. 31 (2012), pp.279-285

-GARAVAGLIA (A.), Amazons from Madrid to Vienna, by way of Italy: The circulation of a Spanish text and the definition of an imaginary, Vol. 31 (2012), pp. 189-234

-GARDNER (J.), The cardinal’s music: Musical interests at the papal Curia c. 1200-1304, vol. 34 (20015), pp.97-132

-GETZ (C.), The Sforza restoration and the founding of the ducal chapels at Santa Maria della Scala in Milan and Sant’Ambrogio in Vigevano, Vol. 16 (1997), pp. 109-160

  • Canonising San Carlo: Sermonising, the sounding word, and image construction in the music for Carlo Borromeo, vol. 34 (2015)

-GIBSON (K.), “How hard an enterprise it is”: Authorial self-fashioning in John Dowland’s printed books, Vol. 26 (2007), pp. 43-90

-GLIXON (B.L.), Scenes from the life of Silvia Galiarti Manni, a seventeenth-century virtuosa, Vol. 15 (1996), pp. 97-146

-GRIER (J.), The musical autographs of Adémar de Chabannes (989-1034), Vol. 24 (2005), pp. 125-167

  • Ademai Cabannensis opera liturgica at poetica: Musica cum textibus – Sam Barrett, Vol. 33 (2014), pp.259-271

-GROOTE (I.M.) AND HAKELBERG (D.), Circulating musical knowledge in early seventeenth-century germany: musica poetica treatises of Johann-Hermann Schein and Michael Altenburg in the library of Johann Caspar Trost, Vol.35 (2016), pp. 131-201

-GUIDOBALDI (N.), Music publishing in sixteenth- and seventeenth-century Umbria, Vol. 8 (1988), pp. 1-36

-GUTWIRTH (E.), Music, identity and the Inquisition in fifteenth-century Spain, Vol. 16 (1997), pp. 161-182

-HAAR (J.), Cosimo Bartoli on music, Vol. 8 (1988), pp. 37-80

.HAAR (J.) & NÁDAS (J.), Antonio Squarcialupi: man and myth, Vol. 25 (2006), pp. 105-168

-HAINES (J.) & DEWITT (P.), Johannes de Grocheio and Aristotelian natural philosophy, Vol. 27 (2008), pp. 47-98

-HAKELBERG (D.) AND GROOTE (I.M.) , Circulating musical knowledge in early seventeenth-century germany: musica poetica treatises of Johann-Hermann Schein and Michael Altenburg in the library of Johann Caspar Trost, Vol.35 (2016), pp. 131-201

-HARRIS (E.T.), Henry Purcell’s Dido and Aenas, Vol. 8 (1988), pp.260-268

-HARTZELL (K. D.), Catalogue of Manuscripts Written or Owned in England up to 1200 Containing Music – Michael Gullick and Susan Rankin, Vol. 28 (2009), pp. 262-285

-HIGGINS (P.), Parisian nobles, a Scottish princess, and the woman’s voice in late medieval song, Vol. 10 (1991), pp. 145-200

-HIS (I.), Italianism and Claude Le Jeune, Vol. 13 (1994), pp. 149

-HOLFORD-STREVENS (L.), Du Fay the poet? Problems in the texts of his motets, Vol. 16 (1997), pp. 97-166

-HUGHES (A.), Medieval Manuscripts for Mass and Office: a Guide to thei Organization and Terminology, Vol. 4 (1984), pp. 356-360

-ILNITCHI (G.), Musica mundana, Aristotelian natural philosophy and Ptolemaic astronomy, Vol. 21 (2002), pp. 37-74

-IRVING (D.R.M.), The dissemination and use of European music books in early modern Asia, Vol. 28 (2009), pp. 39-59

-IRWIN (J.L.), The mystical music of jean Gerson, Vol. 1 (1981), pp. 187-202

-JAS (E.), What other Josquin?, Vol. 33 (2014), pp. 109-141

-JEFFERY (P.), The lost chant tradition of early Christian Jerusalem: some possible melodic survivals in the Byzantine and Latin chant repertories, Vol. 11 (1992), pp. 151-190

  • Re-envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant – David Hiley, Vol. 13 (1994), pp. 275-283

-JOHNSTONE (H.D.), Ayres and arias: A hitherto unknown seventeenth-century English songbook, Vol. 16 (1997), pp. 167-203

-KELLY (T.F.), Old-Roman chant and the responsories of Noah: New evidence from Sutri, Vol. 26 (2007), pp. 91-120

  • The Benventan Chant, Vol. 11 (1992), pp. 314-323

-KIRKMAN (A.), The style of Walter Frye and an anonymous mass in Brussels, Koninklijke Bibliotheek, manuscript 5557, Vol. 11 (1992), pp. 191-222

  • KIRKMAN (A.), The Cultural Lif of the Early Polyphonic Mass: Medieval Context to Modern Revival – Reinhard Strohm, vol. 30 (2011), pp. 261-270

-KISBY (F.), A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII, Vol. 16 (1997), pp. 203-233

-LA VIA (S.), Eros and thanatos: a Ficinian and Laurentian reading of Verdelot’s Sì lieta e grata morte, Vol. 21 (2002), pp. 75-116

-LEACH (E. E.), Guillaume de Machaut: Secretary, Poet, Musican – Anna Zayaruznaya, Vol. 31 (2012), pp. 263-279

-LE HURAY (P.), The Chirk Castkle partbooks, Vol. 2 (1982), pp. 17-42

-LEFFERTS (P.M.), A riddle and a song: Playing with signs in a fourteenth-century ballade, Vol. 26 (2007), pp. 121-180

  • Two English motets on Simon de Montfort, Vol. 1 (1981), pp. 203-226

-LEFFERTS (P.M.) & BENT (M.), compilers New sources of English thirteenth-and fourteenth-century polyphony, Vol. 2 (1982), pp. 273-362

-LEITMEIR (C.T.), Catholic music in the diocese of Augsburg c. 1600: a reconstrucred tricinium anthology and its confessional implications, Vol. 21 (2002), pp. 117-174

-LEVIN (F. R.), Greek Reflections on the Nature of Music, and Stefan Hagel, Ancient Greek Music: A New Technical History – Leofranc Holdford-Strevens, Vol. 29 (2010), pp. 325-344

-LINDMAYR-BRANDI (A.), The modern invention of the ‘Tenorlied’: A historiography of the early German lied setting, vol. 32 (2013), pp. 119-178

– LEVY (K.), On the origin of neumes, Vol. 7 (1987), pp. 59-89

  • Toledo, Rome and the legacy of Gaul, Vol. 4 (1984), pp. 49-100

-LOCKWOOD (L.), Music in Renaissance Ferrara 1400-1505: the Creation of a Musical Centre in the Fifteenth Century – STROHM (R.), Music in Late Medieval Bruges, Vol 6 (1986), pp. 279-302

-LONG (M.P.), Francesco Landini and the Florentine cultural élite,  Vol. 3 (1983), pp. 83-100

-LUKO (A.), Tinctoris on varietas, Vol. 27 (2008), pp. 99-136

-LUMIANSKY (R. M.) & MILLS (D.), The Chester Mystery Cycle: Essay and Documents, with an essay ‘Music in the cycle’ by Richard Rastall, Vol. 6 (1986), pp.317-320

-MACEY (P. ), Galeazzo Maria Sforza and musical patronage in Milan: Compére, Weerbeke and Josquin, Vol. 15 (1996), pp. 147-211

-MACKLIN (C.), Plague, performance and the elusive history of the Stella celi extirpavit, Vol. 29 (2010), pp. 1-32

-MALOY (R.), Scolia enchiriadis and the “non-diatonic” plainsong tradition, Vol. 28 (2009), pp. 61-96

-MALOY (R), Inside the Offertory: Aspects of Chronology and Transmission – Joseph Dyer, Vol. 30 (2011), pp. 249-261

-MARSH (D.T.), Sacred polyphony “not understandid”: Medieval exegesis, ritual tradition and Henry VIII’s reformation, Vol. 29 (2010), pp. 33-77

-MATHIESEN (T.), Aristides Quintilianus on Music in Three Books: Translation, with Introduction, Commentary and Annotations, Vol. 4 (1984), pp. 375-380

-MAUREY (Y.), A courtly lover and an earthly knight turned soldiers of Christ in Machaut’s motet 5, Vol. 24 (2002), pp. 169-211

-MAW (D.), Redemption and retrospection in Jacques de Liège’s concept of cadentia, Vol. 29 (2010), pp. 79-118

-McCARTHY (K.), “Notes as a garland”: the chronology and narrative of Byrd’s Gradualia, Vol. 23 (2004), pp. 49-84

-McGOWAN (M.), The Arts Conjoined: a Context for the Study of Music, Vol. 13 (1994), pp. 171-197

  • Marguerite de Valois, reine de Navarre (1553-1615): Patroness and performer vol. 34 (2015), pp.191-206

-McGRADE (M.), O rex mundi triumphator: Hohenstaufen politics in a sequence for Saint Charlemagne, Vol. 16 (1997), pp. 183-220

-McKINNON (J.W.), On the question of psalmody in the ancient synagogue, Vol. 6 (1986), pp. 159

  • Preface to the study of the Alleluia, Vol. 15 (1996), pp. 213-251
  • The fourth-century origin of the gradual, Vol. 7 (1987), pp. 91-106

-MENGOZZI (S.), “Si quis manus non habeat”: Charting non-hexachordal musical practices in the age of solmisation, Vol. 26 (2007), pp. 181-218

  • The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History – Theodor Dumitrescu, Vol. 30 (2011), pp. 270-279

-MILSOM (J.), Songs and society in early Tudor London, Vol. 16 (1997), pp. 235-295

-MOLL (K.N.), Folio format and musical organisation in the liturgical repertoire of the Ivrea and Apt codices, Vol. 23 (2004), pp. 85-152

-MONSON (C.), Elena Malvezzi’s keyboard manuscript: a new sixteenth-century source, Vol. 9 (1990), pp. 73-128

-MONTAGNA (G.), Caron, Hayne, Compère: a transmission reassessment, Vol. 7 (1987), pp. 107-158

-MORELL (M.), New evidence for the biographies of Andrea and Giovanni Gabrieli, Vol. 3 (1983), pp. 101-121

-MORETTI (L.), Architectural spaces for music: Jacopo Sansovino and Adrian Willaert at St Mark’s, Vol. 23 (2004), pp. 153-185

-MYERS (P.), Luca Marenzio, Il settimo libro de’ madrigali a cinque voci (1595), Vol. 2 (1982), pp. 369-375

-MURATA (M.), Classical tragedy in the history of early opera in Rome, Vol. 4 (1984), pp. 101-133

– NEIGHBOUR (O.), The Consort and Keyboard Music of William Byrd, Vol. 1 (1981), pp. 354-365

– NEWCOMB (A.), The Madrigal at Ferrara, 1579-1597, Vol. 1 (1981), pp. 366-377

  • Luzzaschi’s setting of Dante: ‘Quivi sospiri, pianti, ed alti guai’, Vol. 28 (2009), pp. 97-138

-NIELSON (L.), Gender and the politics of music in the early Islamic courts, Vol. 31 (2012), pp. 235-263

-NOSOW (R.), The debate on song in the Accademia Fiorentina, Vol. 21 (2002), pp. 175-222

-NOWACKI (E.), Text declamation as a determinant of melodic form in the Old Roman eight-mode tracts, Vol. 6 (1986), pp. 193-225

  • The anonymous Musica in Leipzig, Universitätsbibliothek, MS 1492: A new edition and translation, Vol. 33 (2014), pp. 143-181

-O’BRIEN (J.), Ronsard, Belleau and Renvoisy, Vol. 13 (1994), pp. 199-216

-ONGARO (G.), Sixteenth-century patronage at St Mark’s, Venice, Vol. 8 (1988), pp. 81-115

-PAGE (C.), The Summa Musice: a Thirteenth-Century Manual for Singers, Vol. 12 (1993), pp. 203-224

-PETERS (G.), The Musical Sounds of Medieval French Cities: Players, Patrons, and Politics – Keith Polk, Vol. 32 (2013), pp.317-323

-PIERAGOSTINI (R.), Unexpected contexts: views of music in a narrative of the great schism, Vol. 25 (2006), pp. 169-208

-PIETSCHMANN (K.) & ROZENSKI, JR. (S.), Singing the self: The autobiography of the fifteenth-century German singer and composer Johannes von Soest, Vol. 29 (2010), pp. 119-160

-PLANCHART (A.E.), Guillaume Du Fay’s benefices and his relationship to the court of Burgundy, Vol. 8 (1988), pp. 117-171

-POLK (K.), Instrumental music in the urban centres of Renaissance Germany, Vol. 7 (1987), pp. 159-186

-POWERS (H.S.), Modal representation in polyphonic offertories, Vol. 2 (1982), pp. 43-86

-PRIZER (W.F.), Isabella d’Este and Lorenzo da Pavia, “master instrument-maker”, Vol. 2 (1982), pp.  87-128

Reading carnival: the creation of a Florentine carnival song, Vol. 23 (2002), pp. 185

-RANKIN (S.K.), On the treatment of pitch in early music writing, Vol. 30 (2011), pp. 105-175

  • The earliest sources of Notker’s sequences: St Gallen, Vadiana 317, and Paris, Bibliothèque Nationale lat. 10587, Vol. 10 (1991), pp. 201-234
  • The Mary Magdalene scene in the Visitatio sepulchri ceremonies, Vol. 1 (1981), pp. 227-255

-RATHEY (M.), Buxtehude and the Dance of death: The chorale partita Auf meinen lieben Gott (BuxWV 179) and the ars  moriendi in the seventeenth century, Vol. 29 (2010), pp. 161-188

-REARDON (C.), Holy Concord Within Sacred Walls: Nuns and Music in Siena, 1575-1700; Elissa B. Weaver, Convent Theatre in Early Modern Italy: Spiritual Fun and Learning for Women; and Anne MacNeil, Music and Women of the Commedia dell’Arte in the Late Sixteenth Century – Suzanne G. Cusick, Vol. 23 (2004), pp. 305-318

-REES (O.), Guerrero’s L’homme armé masses and their models, Vol. 12 (1993), pp. 19-53

-REIF (J.A.), Music and grammar: imitation and analogy in Morales and the Spanish humanists, Vol. 6 (1986), pp. 227-243

-REMNANT, English Bowed Instruments from Anglo-Saxon to Tudor Times, Vol. 7 (1987), pp. 243-247

-RESTANI (D.), L’itinerario de Girolamo Mei; Mei, De modis, Vol. 11 (1992), pp. 303-313

-REYNOLDS (C.), The origins of San Pietro B 80 and the development of a Roman sacred repertory, Vol. 1 (1981), pp.  257-303

-ROESNER (E.H.), Johannes de Garlandia on organum in speciali, Vol. 2 (1982), pp. 129-160

-ROSAND (E.), Opera in Seventeenth-Century Venice: the Creation of a Genre, Vol. 12 (1993), pp. 224-230

-ROSE (S.), Patriotic purifications: cleansing italian secular vocal music in Thuringia, 1575-1600, Vol.35 (2016), pp. 203-260

-ROS-FÁBREGAS (E.), The Cardona and Fernández de Córdoba coats of arms in the Chigi codex, Vol. 21 (2002), pp. 223-259

-ROSE (S.), Schein’s occasional music and the social order in 1620s Leipzig, Vol. 23 (2004), pp. 253-284

-RUIZ JIMÉNEZ (J.), “The sound of the hollow mountain”: Musical tradition and innovation in Seville Cathedral in the early Renaissance, Vol. 29 (2010), pp. 189-240

– RUMBOLD (I.), The compilation and ownership of the ‘St Emmeram’ codex, Vol. 2 (1982), pp. 161-235

-SAINT-CIRQ (G.), A new link between the motet and trouvère chanson: The pedes-cum-cauda motet, vol. 32, (2013), pp.179-224

-SARGENT (J.), Morales, Josquin and the L’homme armé Tradition, Vol. 30 (2011), pp. 177-211

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