Add to ORKGIntroductory essay only, to a critical edition of the two and three-part canzonets of John Travers, mostly settings of the satirist Matthew Prior. Includes corrected texts and notes on the edition
Nowhere is the richness and variety of the English Renaissance better shown than in the dramatic wor...
Guadagni’s first visit to London spanned seven years, from the autumn of 1748 to summer 1755. He arr...
This essay analyses the functions and forms of the pastoral masques in two musical works celebrating...
Introductory essay only, to a critical edition of the two and three-part canzonets of John Travers, ...
The original edition of the Canzonets to two voices also contained nine instrumental fantasies.Inclu...
The L'Oiseau-Lyre series largely excludes incomplete pieces; the number of complete motets, especial...
In this chapter, I will examine examples from several of the earliest eighteenth-century English can...
Thesis (M.A.)--Boston University PLEASE NOTE: pages 85-97 of this file reflect gross misnumbering...
This dissertation examines Samuel Barber’s Canzonetta for Oboe and String Orchestra, which was inten...
Examines the performance circumstances surrounding an early 17th-c. English adaptation of Thomas Tal...
Imprint varies slightly.Title (v. 1-22) in red and black.Purcell, selected from the Orpheus britanni...
The so-called 'Sadler partbooks' (GB-Ob Mus. e. 1-5), owned and probably produced by the Anglican pr...
The music of John Alcock (1715-1806) is not familiar to most musicians. However, he did produce some...
The so-called 'Sadler partbooks' (GB-Ob Mus. e. 1-5), owned and probably produced by the Anglican p...
The following survey distinguishes three types of music – plainchant, vernacular song, and polyphony...
Nowhere is the richness and variety of the English Renaissance better shown than in the dramatic wor...
Guadagni’s first visit to London spanned seven years, from the autumn of 1748 to summer 1755. He arr...
This essay analyses the functions and forms of the pastoral masques in two musical works celebrating...
Introductory essay only, to a critical edition of the two and three-part canzonets of John Travers, ...
The original edition of the Canzonets to two voices also contained nine instrumental fantasies.Inclu...
The L'Oiseau-Lyre series largely excludes incomplete pieces; the number of complete motets, especial...
In this chapter, I will examine examples from several of the earliest eighteenth-century English can...
Thesis (M.A.)--Boston University PLEASE NOTE: pages 85-97 of this file reflect gross misnumbering...
This dissertation examines Samuel Barber’s Canzonetta for Oboe and String Orchestra, which was inten...
Examines the performance circumstances surrounding an early 17th-c. English adaptation of Thomas Tal...
Imprint varies slightly.Title (v. 1-22) in red and black.Purcell, selected from the Orpheus britanni...
The so-called 'Sadler partbooks' (GB-Ob Mus. e. 1-5), owned and probably produced by the Anglican pr...
The music of John Alcock (1715-1806) is not familiar to most musicians. However, he did produce some...
The so-called 'Sadler partbooks' (GB-Ob Mus. e. 1-5), owned and probably produced by the Anglican p...
The following survey distinguishes three types of music – plainchant, vernacular song, and polyphony...
Nowhere is the richness and variety of the English Renaissance better shown than in the dramatic wor...
Guadagni’s first visit to London spanned seven years, from the autumn of 1748 to summer 1755. He arr...
This essay analyses the functions and forms of the pastoral masques in two musical works celebrating...