Agricola, Martin. Musica instrumentalis deudsch. Wittemberg, 1529. Translated and edited by Hettrick, William E.. Musica instrumentalis deudsch: A Treatise on Musical Instruments (1529 and 1545) by Martin Agricola. Cambridge, 1994.Google Scholar

Anglés, Higinio. La Música en la corte de Carlos V. Monumentos de la Música Española II. Revised 2nd edition. Barcelona, 1984.Google Scholar

[Anonymous]. Het Boeck van al ‘t gene datter geschiet es binnen Brugge sichtent Jaer 1477, 14 Frebuarii, tot 1491. Maatschappy der Vlaemsche Bibliophilen. Ed. Carton, Charles. Ser. 2, no. 2 Ghent, 1859.Google Scholar

Apel, Willi. Keyboard Music of the Fourteenth and Fifteenth Centuries. Corpus of Early Keyboard Music, I, n.p., 1963.Google Scholar

Appelbaum, Stanley, ed. The Triumph of Maximilian I. New York, 1964.Google Scholar

[Arnaut de Zwolle, Henri]. Instruments de musique du XVe siècle; les traités d’Henri-Arnaut de Zwolle et de divers anonymes (Ms. B.N. latin 7295. Ed. Le Cerf, G. and Labande, E.-R.. Paris, 1932.Google Scholar

Arnold, Denis. Giovanni Gabrieli and the Music of the Venetian High Renaissance. Oxford, 1979.Google Scholar

Ashbee, Andrew, ed. Records of English Court Music, Volume VII, 1485–1558. Aldershot and Brookfield, Vermont, 1993.Google Scholar

Ashworth, Jack. “Keyboard Instruments.” In A Performer’s Guide. Ed. Kite-Powell, , 206–21.Google Scholar

Atlas, Allan. Renaissance Music: Music in Western Europe, 1400-1600. New York, 1998.Google Scholar

Baines, Anthony. Brass Instruments: Their History and Development. New York, 1976, reprint, 1993.Google Scholar

Baines, Anthony. Woodwind Instruments and their History. 3rd edition. New York, 1967.Google Scholar

Banks, Jon. The Instrumental Consort Repertory of the Late Fifteenth Century. Aldershot and Burlington, Vermont, 2006.Google Scholar

Bär, Frank P.Holzblasinstrumente im 16. und frühen 17. Jahrhundert.Tutzing, 2002.Google Scholar

Ballester, Jordi. “An Unexpected Discovery: The Fifteenth-Century Angel Musicians of the Valencia Cathedral,” Music in Art 33 (2008), 11–29.Google Scholar

Barblan, Guglielmo. “Vita musicale alla corte sforzesca.” Storia di Milano 9 (1961), 787–852.Google Scholar

Baroncini, Rodolfo. “Zorzi Trombetta and the Band of Piffari and Trombones of the Serenissima: New Documentary Evidence.” Trans. Ward-Perkins, Hugh, HBSJ 14 (2002), 59–82.Google Scholar

Baroncini, Rodolfo. “Zorzi Trombetta da Modon and the Founding of the Band of Piffari and Tromboni of the Serenissima.” HBSJ 16 (2004), 1–17.Google Scholar

Bassano, Giovanni. Ricercare, Passaggi et Cadentie (Venice, 1585). Ed. Erig, Richard. Zürich, 1976.Google Scholar

[Beck, Sidney]. The First Book of Consort Lessons for Treble and Bass Viols, Flute, Lute, Cittern and Pandora Collected by Thomas Morley, 1559–1661. Reconstructed and edited by Beck, Sidney. New York, 1954.Google Scholar

Bent, Margaret. Counterpoint, Composition and Musica Ficta. New York and London, 2002.Google Scholar

Bent, Margaret. “Editing Early Music: The Dilemma of Translation.” EM 22 (1994), 372–92.Google Scholar

Bent, Margaret. “The Musical Stanzas in Martin Le Franc’s Le Champion des Dames. ” In Music and Medieval Manuscripts, Paleography and Performance: Essays Dedicated to Andrew Hughes. Ed. Haines, John and Rosenfeld, Randall. Aldershot and Burlington, Vermont, 2004. 91–127.Google Scholar

Bent, Margaret. “Resfacta and Cantare Super Librum.” JAMS 36 (1983), 371–91.Google Scholar

Berger, Anna Maria Busse. Medieval Music and the Art of Memory. Berkeley and Los Angeles, 2005.CrossRefGoogle Scholar

Berger, Anna Maria Busse. “The Problem of Diminished Counterpoint.” In Uno Gentile et Subtile Ingenio, Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Ed. Bloxam, Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc. Brepols, 2009, 13–27.CrossRefGoogle Scholar

Bermudo, JuanDeclaración de instrumentos musicales. Osuna, 1555.Google Scholar

Bernstein, Jane A.Music Printing in Renaissance Venice: The Scotto Press (1539–1572). New York and Oxford, 1998.CrossRefGoogle Scholar

Besseler, Heinrich. Bourdon und Fauxbourdon. Leipzig, 1950.Google Scholar

Biordi, Paolo and Ghielmid, Vittorio, ed. Viole de gambe: Méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Courlay, France, 2004.Google Scholar

Birkendorf, Rainer. Der Codex Pernner. Collectanea Musicologica 6, Augsburg, 1994.Google Scholar

Blackburn, Bonnie J. “‘Il magnifico Sigismondo Maler thedescho’ and His Family: The Venetian Connection.” LSJ 50 (2010), 60–86.Google Scholar

Blackburn, Bonnie J. “On Compositional Process in the Fifteenth Century.” JAMS 40 (1987), 210–84.Google Scholar

Blades, James. Early Percussion Instruments from the Middle Ages to the Baroque. Oxford, 1976.Google Scholar

Bodig, Richard D. “Ganassi’s Regola Rubertina. ”JLSA 18 (1966), 13–66.Google Scholar

Boorman, Stanley. Ottaviano Petrucci: Catalogue Raisonné. Oxford and New York, 2006.Google Scholar

Borg, Paul. “The Polyphonic Music in the Guatemalan Music Manuscripts of the Lilly Library.” PhD diss., Indiana University, 1985.Google Scholar

Bouckaert, Bruno and Schreurs, Eugeen. “Hans Nagel, Performer and Spy in England and Flanders (c.1490–1531).” In Tielman Susato. Ed. Polk, Keith. Hillsdale, New York. 63–102.Google Scholar

Bovicelli, Giovanni Battista. Regole, passaggi di musica. Venice, 1594. Facsimile edition. Ed. Bridgman, Nanie. Kassel, 1957; English trans. Rosenberg, Jesse, HBSJ 4 (1992), 27–44.Google Scholar

Bower, Calvin M.Fundamentals of Music [by] Anicius Manlius Boethius. New Haven, 1989.Google Scholar

Bowles, Edmond. “Haut and Bas: The Grouping of Musical Instruments in the Middle Ages.” MD 8 (1954), 115–40.Google Scholar

Boydell, Barra. The Crumhorn and other Renaissance Windcap Instruments. Buren, 1982.Google Scholar

Boyden, David D.The History of Violin Playing from Its Origins to 1761. London, 1965.Google Scholar

Bradley, Robert John. “Musical Life and Culture at Savoy, 1420–1450.” PhD diss., City University of New York, 1992.Google Scholar

Brand, Peter and Pertile, Lino, ed. The Cambridge History of Italian Literature. Cambridge, 1996.Google Scholar

Bray, Roger. “Music and the Quadrivium in Early Tudor England.” ML 76 (1995), 1–18.Google Scholar

Brennecke, Wilfried. Die Handschrift A. R. 940/41 der Proske-Bibliothek zu Regensburg. Ein Beitrag zur Musikgeschichte im zweiten Drittel des 16. Jahrhunderts. Schriften des Landesinstituts für Musikforschung, Kassel, 1953.Google Scholar

Brennecke, Wilfried, ed. Carmina Germanica et Gallica. Hortus Musicus, vols. 137–8. Kassel, 1965.Google Scholar

Brett, Philip. “The English Consort Song, 1570–1625.” PRMA 88 (1961–1962), 73–88.Google Scholar

Brett, Philip, ed. Consort Songs. Musica Britannica, Vol. XXII. London, 1967.Google Scholar

Brett, Philip, The Consort Songs for Voice and Viols. The Collected Works of William Byrd, Vol. 15. London, 1970.Google Scholar

Brinzing, Armin. “Bemerkungen zur Hofkapelle Herzog Wilhelms IV, mit einer provisorischen Liste der Hofmusiker.” Die Münchner Hofkapelle des 16. Jahrhunderts im europäischen Kontext. Bayerische Akademie der Wissenschaftern, Philosophisch-Historisch Klasse, Abhandlungen, Neue Folge, Heft 128. Ed. Göllner, Theodor and Schmid, Bernhold, with assistance from Putz, Severin. Munich, 2006, 20–46.Google Scholar

Brinzing, Armin. Studien zur instrumentalen Ensemblemusik im deutschsprachigen Raum des 16. Jahrhunderts. Abhandlungen zur Musikgeschichte. Ed. Staehelin, Martin. Göttingen, 1998.CrossRefGoogle Scholar

Bromberg, Carla and Alfonso-Goldfarb, Ana Maria. “Vincenzo Galilei and Music: Some Socio-Cultural and Acoustical Discussions.” Circumscribere: International Journal for the History of Science 6 (2009), 1–11. Accessed July 11, 2015. <revistas.pucsp.br/index.php/circumhc/article/download/1939/1195>.Google Scholar

Brown, Adrian. “An Overview of the Surviving Renaissance Recorders.” In Musicque de Joye. Ed. David Lasocki, 79–85.Google Scholar

Brown, Alan. “England.” In Keyboard Music Before 1700. Ed. Silbiger, Alexander. New York, 1995, 23–89.Google Scholar

Brown, Alan, ed. William Byrd, Keyboard Music. 3rd revised edition. Musica Brittanica, 27 and 28. London, 2004.Google Scholar

Brown, Howard Mayer. Embellishing Sixteenth-Century Music. Oxford, 1976.Google Scholar

Brown, Howard Mayer. Instrumental Music Printed Before 1600. Cambridge, MA, 1965, reprint, 1967.CrossRefGoogle Scholar

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge, MA, 1963.CrossRefGoogle Scholar

Brown, Howard Mayer. Music in the Renaissance. Englewood Cliffs, 1976.Google Scholar

Brown, Howard Mayer. “The Recorder in the Middle Ages and Renaissance.” In The Cambridge Companion to the Recorder. Ed. Thomson, John Mansfield. Cambridge, 1995, 1–25.Google Scholar

Brown, Howard Mayer. Review of The Castle of Fair Welcome, Gothic Voices dir. Christopher Page (1985), EM 15 (1987), 77–8.Google Scholar

Brown, Howard Mayer. Sixteenth-Century Instrumentation: The Music of the Florentine Intermedii. Musicological Studies and Documents 30. Rome, 1973.Google Scholar

Brown, Howard Mayer. “The Trecento Fiddle and Its Bridges, ”EM 17 (1989), 308–29.Google Scholar

Brown, Howard Mayer. “Vincenzo Galilei in Rome: His First Book of Lute Music (1563) and Its Cultural Context.” In Music and Science in the Age of Galileo. Ed. Coelho, Victor. Dordrecht, 1992, 153–84.Google Scholar

Brown, Howard and Polk, Keith. “Instrumental Music, c. 1300-c. 1520.” In Music as Concept and Practice in the Late Middle Ages. Ed. Strohm, Reinhard and Blackburn, Bonnie. Oxford, 2001, 97–161.CrossRefGoogle Scholar

Burke, Peter. Popular Culture in Early Modern Europe. 3rd edition. Farnham and Burlington, Vermont, 2009.Google Scholar

Byrd, William. Psalmes, Sonets and Songs (1588). Ed. Smith, Jeremy. The Byrd Edition 12. London, 2004.Google Scholar

Canguilhem, Philippe. Fronimo de Vincenzo Galilei. Paris, 2001.Google Scholar

Canguilhem, Philippe, and Stalarow, Alexander. “Singing Upon the Book According to Vicente Lusitano.” EMH 30 (2011), 55–103.CrossRefGoogle Scholar

Capra, Marco, ed. Claudio, Musico: Le arte molteplici di Claudio Merulo da Correggio (1533–1604) tra Venezia e Parma. Venice, 2006.Google Scholar

Carter, Stewart. The Trombone in the Renaissance; A History in Pictures and Documents. Hillsdale, NY, 2012.Google Scholar

Carter, Tim.“A Florentine Wedding of 1608.” AcM 55 (1983), 89–107.Google Scholar

[Castiglione, Baldasar]. Baldesar Castiglione, The Book of the Courtier. Trans. Bull, George. New York, 1976,Google Scholar

Cazaux, Christelle. La musique à la cour de François I^er.Paris, 2002.Google Scholar

Ceulemans, Anne-Emmanuelle. De la vièle médiévale au violon du xviie siècle: Étude terminologique, iconographique et théorique. Turnhout, 2011.Google Scholar

Chapman, Catherine Weeks. “Printed Collections of Polyphonic Music Owned by Ferdinand Columbus.” JAMS 21 (1968), 34–84.Google Scholar

Charteris, Richard, ed. Giovanni Gabrieli, Opera Omnia. Corpus Mensurabilis Musicae, vol. 12. Neuhausen, 1998.Google Scholar

Charteris, Richard, ed. Giovanni Gabrieli (ca. 1555–1612): a Thematic Catalogue of his Music with a Guide to the Source Materials and Translations of his Vocal Texts. New York, 1996.Google Scholar

Christiansen, Keith. A Caravaggio Rediscovered: The Lute Player. New York, 1990.Google Scholar

Coclico, Adrian Petit. Compendium musices. (Nuremberg, 1552). Facsimile edition. Ed. Bukofzer, Manfred. Kassel, 1954. Translated by Seay, Albert. Colorado Springs, 1973.Google Scholar

Coelho, Victor. “Bronzino’s Lute Player: Music and Youth Culture in Renaissance Florence.” In Renaissance Studies in Honor of Joseph Connors. Ed. Israëls, Machtelt and Waldman, Louis A.. I Tatti Studies in the Renaissance. Milan, 2013, 650–59 and 734–35.Google Scholar

Coelho, Victor. “Francesco Canova da Milano.” Die Musik in Geschichte und Gegenwart. Personenteil 6. Ed. Finscher, Ludwig. Kassel, 1994, 1571–1575.Google Scholar

Coelho, Victor. The Manuscript Sources of Seventeenth-Century Italian Lute Music. New York, 1995.Google Scholar

Coelho, Victor. “Old Worlds and New.” In The Cambridge History of Seventeenth-Century Music. Ed. Carter, Tim and Butt, John. Cambridge, 2005, 88–110.CrossRefGoogle Scholar

Coelho, Victor. “Papal Tastes and Musical Genres: Francesco da Milano ‘Il Divino’ (1497–1543) and the Clementine Aesthetic.” In The Pontificate of Clement VII: History, Politics, Culture. Ed. Gouwens, Kenneth and Reiss, Sheryl. Aldershot and Burlington, Vermont, 2005, 277–92.Google Scholar

Coelho, Victor. “The Players of Florentine Monody in Context and in History, and a Newly Recognized Source for Le Nuove Musiche.” JSCM 9 (2003), 48–67. Accessed June 3, 2015. http://sscm-jscm.org/v9/no1/coelho.html#AuthorNote.Google Scholar

Coelho, Victor. “Public Works and Private Contexts: Lorenzo Allegri and the Florentine Intermedi of 1608.” In Luths et luthistes en Occident. Ed. Dugot, Joël, 121–32.Google Scholar

Coelho, Victor. “Raffaello Cavalcanti’s Lute Book and the Ideal of Singing and Playing.” In Le concert des voix et des instruments. Ed. Vaccaro, Jean-Michel, 423–42.Google Scholar

Coelho, Victor. “Revisiting the Workshop of Howard Mayer Brown: [Josquin’s] Obsecro te Domina and the Context of Arrangement.” In “La musique de tous les passetemps le plus beau”: Hommage à Jean-Michel Vaccaro. Ed. Vanhulst, Henri and Lesure, François. Paris, 1998, 47–65.Google Scholar

Coelho, Victor, ed. Music and Science in the Age of Galileo. Dordrecht, 1992CrossRefGoogle Scholar

Coelho, Victor, ed. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation. Cambridge Studies in Performance Practice. Cambridge, 1997.Google Scholar

Coelho, Victor and Polk, Keith. “Instrumental Music, 1520–1640.” In European Music, 1520–1640. Ed. Haar, James. Woodbridge, 2006. 527–55.Google Scholar

Cole, Janie. Music, Spectacle and Cultural Brokerage in Early Modern Italy: Michelangelo Buonarroti il Giovane. Florence, 2011.Google Scholar

Colussi, Franco, Bryant, David, and Quaranta, Elena. Girolamo Dalla Casa detto da Udene e l’ambiente musicale veneziano. Clauzetto, 2000.Google Scholar

Conforto, Giovanni Luca. Breve et Facile Maniera di essercitarsi …Rome, 1593. Edited and translated by Bradshaw, Murray C.. Rome/Holzgerlingen, 1999.Google Scholar

Conklin, Rosalind. “Medieval English Minstrels, 1216–1485.” PhD diss., University of Chicago, 1964.Google Scholar

Corona-Alcalde, Antonio. “The Earliest Vihuela Tablature: A Recent Discovery.” EM 20 (1992), 594–600.Google Scholar

Craig-McFeely, Julia. “English Lute Manuscripts and Scribes, 1530–1630.” PhD diss., University of Oxford, 1994.Google Scholar

Crane, Frederick. Materials for the Study of the Fifteenth-Century Basse Dance. Brooklyn, 1968.Google Scholar

Cummings, Anthony. “Gian Maria Giudeo, Sonatore del Liuto, and the Medici.” FAM 38 (1991), 312–18.Google Scholar

Cummings, Anthony. The Lion’s Ear: Pope Leo X, the Renaissance Papacy, & Music. Ann Arbor, 2012.CrossRefGoogle Scholar

Cummings, Anthony. The Politicized Muse: Music for Medici Festivals, 1512–1537. Princeton, 1992.Google Scholar

Cuyler, Louise. The Emperor Maximilian I and Music. Oxford, 1973.Google Scholar

D’Accone, Frank A.The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance. Chicago and London, 1997.CrossRefGoogle Scholar

Dalla Casa, Girolamo. Il vero modo di diminuir (Venice 1584). Facsimile edition. Ed. Vecchi, Giuseppe. Bologna, 1970; Viole de gambe: Méthodes, traités, dictionnaires et encyclopédies, ouvrages généraux. Ed. Biordi, Paolo and Ghielmid, Vittorio. Courlay, France, 2004.Google Scholar

Damman, Rolf. “Die Musik im Triumphzug Maximilians I.” AMw 36 (1974), 245–289.Google Scholar

Danner, Peter. “Before Petrucci: The Lute in the Fifteenth Century.” JLSA 5 (1972), 4–17.Google Scholar

Dean, Jeffrey J. “Josquin’s Teaching: Ignored and Lost Sources.” In Uno Gentile et Subtile Ingenio. Ed. Bloxam, Jennifer, Filocamo, Gioia, and Holford-Strevens, Leofranc. 741–50.CrossRefGoogle Scholar

Devillers, Léopold. Essai sur l’histoire de la musique à Mons. Mons, 1868.Google Scholar

Dickey, Bruce. “Ornamentation in Sixteenth-Century Music.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery. 300–24.Google Scholar

Dimutrescu, Theodor. The Early Tudor Court and International Relations. Aldershot and Burlington, Vermont, 2007.Google Scholar

Diruta, Girolamo. The Transylvanian: Il Transilvano. Ed. Bradshaw, Murray C. and Soehnlein., Edward J.Henryville, PA, 1984.Google Scholar

Doe, Paul, ed. Elizabethan Consort Music. Musica Britannica 44. London, 1979.Google Scholar

Dolata, David. Meantone Temperaments on Lutes and Viols. Bloomington, 2016.Google Scholar

Downey, Peter. “The Renaissance Slide Trumpet: Fact or Fiction.” EM 12 (1984), 26–33.Google Scholar

Drake, Stillman. “Vincenzio Galilei and Galileo.” In Galileo Studies: Personality, Tradition, and Revolution. Ann Arbor, 1970, 43–62.Google Scholar

Duffin, Ross W. “Contrapunctus Simplex et Diminutus: Polyphonic Improvisation for Voices in the Fifteenth Century.” BJhM (2007), 73–94.Google Scholar

Duffin, Ross W. “Ensemble Improvisation in the Fifteenth-Century Mensural Dance Repertoire.” In Instruments, Ensembles, and Repertory. Ed. McGee, Timothy J. and Carter, Stewart. 195–233.CrossRefGoogle Scholar

Duffin, Ross W.How Equal Temperament Ruined Harmony (And Why You Should Care). New York, 2007.Google Scholar

Duffin, Ross W. “Shawm and Curtal.” In A Performer’s Guide. Ed. Kite-Powell, . 85–92.Google Scholar

Duffin, Ross W. “The trompette des menestrels in the 15th-century alta capella.” EM 17 (1989), 397–402.Google Scholar

Duffin, Ross W., ed. A Performer’s Guide to Medieval Music. Bloomington, Indiana, 2000.Google Scholar

Dugot, Joël, ed. Luths et luthistes en Occident.Paris, 1999.Google Scholar

Dugot, Joël, ed. Luth: Méthodes – Dictionnaires et Encyclopédies – Ouvrages généraux. Méthodes & Traités 19, vol. 1. Bressuire, 2004.Google Scholar

Durán, Domingo Marcos. Súmula de canto de organo: contrapunto y composición vocal y instrumental: practical y speculative. Salamanca, c1507.Google Scholar

Eberlein, Roland. “The Faenza Codex: Music for Organ or Lute Duet?” EM 20 (1992), 460–66.Google Scholar

Eco, Umberto. Experiences in Translation. Toronto, 2001.Google Scholar

Edwards, Rebecca. “Claudio Merulo, l’altro gioiello nella corona di Correggio.” In A Messer Claudio, Musico. Ed. Capra, Marco, 15–29.Google Scholar

Edwards, Rebecca. “Claudio Merulo: Servant of the State and Musical Entrepreneur in Late Sixteenth-Century Venice.” PhD diss., Princeton University, 1990.Google Scholar

El-Mallah, Issam. Die Pass’e mezzi und Saltarelli aus der Münchner Lautenhandschrift von Jacomo Gorzanis. Tutzing, 1979.Google Scholar

El-Mallah, Issam. Ein Tanzzyklus des 16. Jahrhunderts für Laute von Giacomo Gorzanis. Tutzing, 1979.Google Scholar

Elders, Willem. Josquin des Prez and His Musical Legacy: An Introductory Guide.Leuven, 2013.Google Scholar

Elliott, Kenneth, ed. Consort Music. In The Collected Works of William Byrd 17. London, 1971.Google Scholar

Erig, Richard, ed. (with the collaboration of Veronika Gutman). Italienische Diminutionen: die zwischen 1553 und 1638 mehrmals bearbeiteten Sätze. Zurich, 1979.Google Scholar

Espinosa, Dawn Astrid. “Juan Bermudo: ‘On Playing the Vihuela (“De tañer vihuela”)’.” JLSA 28–29 (1995–96).Google Scholar

Estaire, Luís Robledo, Knighton, Tess, Bordas Ibáñez, Cristina, José Carreras, Juan. Aspectos de la cultura musical en la corte de Felipe II. Madrid, 2000.Google Scholar

Evans, Edward G., ed. Johannes Martini: Secular Pieces. Recent Researches in Music of the Middle Ages and Early Renaissance, I. Madison, 1975.Google Scholar

Fabris, Dinko. “Lute Tablature Instructions in Italy: A Survey of the Regole from 1507 to 1759.” In Performance on Lute, Guitar, and Vihuela. Ed. Coelho, Victor. 16–46.Google Scholar

Fabris, Dinko. “Le prime intavolature italiane per liuto: 1500–1540.” In Venezia 1501: Petrucci e la stampa musicale / Venice 1501: Petrucci, Music, Print and Publishing. Ed. Cattin, Giulio and Vecchia, Patrizia Dalla. Venice, 2005, 473–90.Google Scholar

Fallows, David. A Catalogue of Polyphonic Songs 1415–1480. Oxford, 1999.Google Scholar

Fallows, David. “The Early History of the Tenorlied and its Ensembles.” In Le Concert des voix et des instruments. Ed. Vaccaro, Jean-Michel. 199–206.Google Scholar

Fallows, David. “15th-Century Tablatures for Plucked Instruments: A Summary, a Revision, and a Suggestion.” In David Fallows. Songs and Musicians in the Fifteenth Century. Aldershot and Burlington, Vermont, 1996, XII (also in LSJ 19 (1977), 7–33).Google Scholar

Fallows, David. Josquin. Turnhout, 2009.Google Scholar

Fallows, David, ed. The Songbook of Fridolin Sicher. Peer, Belgium, 1996.Google Scholar

Fallows, David general editor. Harmonice Musices Odhecaton A: One Hundred Songs of Harmonic Music. Revised edition. Watertown, MA, 2003.Google Scholar

Fenlon, Iain. “Merulo and State Ceremonial: The Visit to Venice of Henry III.” In A Messer Claudio, Musico. Ed. Capra, Marco, 261–75.Google Scholar

Fenlon, Iain. Music and Culture in Late Renaissance Italy. Oxford, 2002.CrossRefGoogle Scholar

Ferand, Ernst T.Die Improvisation in der Musik. Zurich, 1938.Google Scholar

Ferand, Ernst T. “What is Res Facta?” JAMS 10 (1957), 141–50.Google Scholar

Ferer, Mary Tiffany. Music and Ceremony at the Court of Charles V: The Capilla Flamenca and the Art of Political Promotion. Woodbridge, 2012.Google Scholar

Fiala, David. “Les musiciens étrangers de la cour de Bourgogne à la fin du XVème siècle.” Revue du Nord 345–346 (2002), 2–19.Google Scholar

Finck, Hermann. Practica musica. Wittenberg, 1556. Facsimile edition. Bologna, 1969, and Hildesheim, 1970.Google Scholar

Fitch, Fabrice. “’Virtual’ Ascriptions in Ms. AugS 142a: A Window on Agricola’s Late Style.” Journal of the Alamire Foundation 4 (2012), 114–42.CrossRefGoogle Scholar

Forney, Kristine. “New Insights into the Career and Musical Contributions of Tielman Susato.” In Tielman Susato. Ed. Polk, Keith. 1–10.Google Scholar

Foster, Charles. “Tinctoris’ Imperfect Dulcina Perfected: The Mary Rose Still Shawm.” GSJ 58 (2005), 46–50, 214.Google Scholar

Fraser Jenkins, A.D. “Cosimo de’Medici’s Patronage of Art and the Theory of Magnificence.” Journal of the Warburg and Courtauld Institutes 33 (1970), 162–70.Google Scholar

Fuller Maitland, J.A. [John Alexander] and Barclay Squire, W., ed. The Fitzwilliam Virginal Book. Leipzig, 1899; reprint, New York, 1979.Google Scholar

Galilei, Vincenzo. Discorso intorno all’opere de M. Gioseffo Zarlino. Venice, 1589.Google Scholar

Galilei, Vincenzo. Il Fronimo. Venice, 1568/1584. Facsimile edition. Bologna [n.d.].Google Scholar

Gallo, F. Alberto. Music in the Castle: Troubadours, Books, and Orators in Italian Courts of the Thirteenth, Fourteenth, and Fifteenth Centuries. Chicago, 1996.Google Scholar

Gambassi, Osvaldo. La cappella musicale de S. Petronio. Florence, 1987.Google Scholar

Gambassi, Osvaldo. Il Concerto Palatino della Signoria di Bologna. Florence, 1989.Google Scholar

Ganassi, Sylvestro. Opera Intitulata Fontegara. Venice, 1535. Ed. Peter, Hildemarie, La Fontegara, Schule des kunstvollen Flötenspiels und Lehrbuch des Diminuierens. Berlin-Lichterfelde, 1956.Google Scholar

Ganassi, Sylvestro. Regola Rubertina. Venice, 1542–3. Ed. Peter, Hildemarie. Berlin-Lichterfelde, 1972.Google Scholar

Gásser, Luis. Luis Milán on Sixteenth-Century Performance Practice. Bloomington, 1996.Google Scholar

Gilbert, Adam. “Bagpipe.” In A Performer’s Guide. Ed. Duffin, . 399–411.Google Scholar

Gilbert, Adam. “Reverse Engineering Fifteenth-Century Counterpoint: Es solt ein man kein mole farn and Cançon de pifari dco. el Ferrarese.” In Instruments, Ensembles, and Repertory. Ed. McGee, Timothy J. and Carter, Stewart. 173–194.CrossRefGoogle Scholar

Gilliodts-Van Severen, Louis. Les Ménestrels de Bruges. Essais d’archéologie brugeoise, vol. 2. Bruges, 1912.Google Scholar

Girard, Sharon, ed. Renaissance Wind Band Music of Guatemala. Berkeley, CA, 1981.Google Scholar

Glahn, Henrik, ed. Music from the Time of Christian III. Dania Sonans, vols. IV–V. Copenhagen, 1978–86.Google Scholar

Glixon, Jonathan. Honoring God and the City: Music at the Venetian Confraternities, 1260–1807. Oxford and New York, 1993.Google Scholar

Glixon, Jonathan. “Lutenists in Renaissance Venice: Some Notes from the Archives.” JLSA 16 (1983), 15–26.Google Scholar

Goldberg, Randall E. “Where Nature and Art Adjoin: Investigations into The Zarlino–Galilei Dispute, Including an Annotated Translation of Vincenzo Galilei’s Discorso Intorno All’opere Di Messer Gioseffo Zarlino.” PhD diss., Indiana University, 2011.Google Scholar

Gombosi, Otto. ed. Compositione di Meser Vincenzo Capirola: Lute-Book (circa 1517). Neuilly-sur-Seine, 1955.Google Scholar

Gómez Muntané, María del Carmen. “El manuscrito M 971 de la Biblioteca de Catalunya (Misa de Barcelona).” Butlletí de la Biblioteca de Catalunya 10 (1982–84) [1986], 159–317.Google Scholar

Grafton, Anthony. “The Humanist and the Commonplace Book: Education in Practice.” In Music Education in the Middle Ages and the Renaissance. Ed. Murray, Russell Jr., Weiss, Susan Forscher, and Cyrus, Cynthia J.. Bloomington, 2010, 141–57.Google Scholar

Graziano, Stefano A. “From Language to Music: Mapping the History of the Italian Lute Vocabulary.” PhD diss., Boston University (2011).Google Scholar

Greve, Werner. Braunschweiger Stadtmusikanten. Braunschweig, 1991.Google Scholar

Griffiths, John. “At Court and at Home with the Vihuela de mano: Current Perspectives on the Instrument, its Music and its World.” JLSA 22 (1989), 1–28.Google Scholar

Griffiths, John. “La ‘Fantasía que contrahaze la harpa’ de Alonso Mudarra: estudio histórico-analítico.” Revista de Musicología 9 (1986), 29–40.CrossRefGoogle Scholar

Griffiths, John. “Improvisation and Composition in the Vihuela Songs of Luis Milán and Alonso Mudarra.” In Gesang zur Laute. Trossingen Jahrbuch für Renaissancemusik 2. Ed. Schwindt, Nicole. Kassel, 2002, 111–32.Google Scholar

Griffiths, John. “Juan Bermudo, Self-Instruction, and the Amateur Instrumentalist.” In Music Education in the Middle Ages and the Renaissance. Ed. Murray, Russell E. Jr., Weiss, Susan Forscher, and Cyrus, Cynthia J., 126–40.Google Scholar

Griffiths, John. “Printing the Art of Orpheus: Vihuela Tablatures in Sixteenth-Century Spain.” In Early Music Printing and Publishing in the Iberian World. Ed. Fenlon, Iain and Knighton, Tess. Kassel, 2006.Google Scholar

Griffiths, John. “Spinacino’s Twelve-Tone Experiment.” JLSA 40 (2011), 47–76.Google Scholar

Griffiths, John. “La vihuela en la época de Felipe II.” In Políticas y prácticas musicales en el mundo de Felipe II. Ed. Griffiths, John and Suárez-Pajares, Javier. Madrid, 2004, 415–48.Google Scholar

Griffiths, John. “The Vihuela Fantasia: A Comparative Study of Forms and Styles.” PhD diss., Monash University, 1983.Google Scholar

Griffiths, John. “The Vihuela: Performance Practice, Style, and Context.” In Performance on Lute, Guitar, and Vihuela. Ed. Coelho, Victor. 158–79.Google Scholar

Griffiths, John, and Fabris, Dinko, ed. Neapolitan Lute Music: Fabrizio Dentice, Giulio Severino, Giovanni Antonio Severino, Francesco Cardone. Recent Researches in the Music of the Renaissance 140. Madison, 2004.CrossRefGoogle Scholar

Grojean, Ardis. “Tielman Susato and Sweden; The Swedish Evidence, 1555–1570.” In Tielman Susato. Ed. Polk, Keith, 45–59.Google Scholar

Grubb, James S. “Elite Citizens.” In Venice Reconsidered: The History and Civilization of an Italian City-State, 1297–1797. Ed. Martin, John Jeffries and Romano, Denis. Baltimore, 2002, 339–64.Google Scholar

Haar, James and Lockwood, Lewis, ed. “Critical Commentary to Missa Hercules Dux Ferrarie.” In Josquin des Prez: Masses based on Solmisation Themes. New Josquin Edition 11.1. Utrecht, 2002.Google Scholar

Haggh, Barbara. “Music, Litrugy, and Ceremony in Brussels, 1350–1500.” PhD diss., University of Illinois. 1988.Google Scholar

Harmon, Roger. “‘Musica laetitiae comes’ and Vermeer’s Music Lesson.” Oud Holland 113 (1999), 161–6.CrossRefGoogle Scholar

Harms, Benjamin. “Early Percussion.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 194–205.Google Scholar

Haynes, Bruce. A History of Performing Pitch: The Story of “A.”Lanham, Maryland and Oxford, 2002.Google Scholar

Heartz, Daniel. “The Basse Dance, Its Evolution circa 1450 to 1550.” Annales Musicologiques 6 (1958–63), 287–340.Google Scholar

Heartz, Daniel. “Hoftanz and Basse Dance.” JAMS 19 (1966), 13–36.Google Scholar

Heartz, Daniel. Preludes, Chansons and Dances for Lute. Neuilly-sur-Seine, 1964.Google Scholar

Heartz, Daniel. “Sources and Forms of the French Instrumental Dance in the Sixteenth Century.” PhD diss., Harvard University, 1957.Google Scholar

Henning, Uta. Musica Maximiliana. Die Musikgraphiken in den bibliophilen Unternehmungen Kaiser Maximilians I. Neu-Ulm, 1987.Google Scholar

Herbert, Trevor. The Trombone. New Haven and London, 2006.Google Scholar

Herbert, Trevor. “The Trombone in England before 1800. ” PhD thesis, Open University. 1984.Google Scholar

Herbert, Trevor. “Susato’s Colleagues: The Trombonists of the Tudor Court.” In Tielman Susato. Ed. Polk, Keith, 117–32.Google Scholar

Hewitt, Helen, ed. Harmonice musices Odhecaton A. Cambridge, MA, 1942; reprint, New York, 1978.Google Scholar

Heyghen, Peter van. “The Recorder Consort in the Sixteenth Century: Dealing with the Embarrassment of Riches.” In Musicque de Joye. Ed. Lasocki, David, 244–53.Google Scholar

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

Horsley, Imogene. “Improvised Embellishment in the Performance of Renaissance Polyphonic Music.” JAMS 4 (1951), 3–19.Google Scholar

Horst, Walter. Musikgeschichte der Stadt Lüneburg. Tutzing, 1967.Google Scholar

Hubbell, Leslie Chapman. “Sixteenth-Century Italian Songs for Solo Voice and Lute.” 2 vols. PhD diss., Northwestern University, 1982.Google Scholar

Ivanoff, Vladimir. “An Invitation to the Fifteenth-Century Plectrum Lute: The Pesaro Manuscript.” In Performance on Lute, Guitar, and Vihuela. Ed. Coelho, Victor. 1–15.Google Scholar

Ivanoff, Vladimir. “Eros and Death: The Lute as a Symbol in Oriental and Occidental Art and Music.” In Luths et luthistes en Occident. Ed. Dugot, Joël. 31–42.Google Scholar

Ivanoff, Vladimir. Das Pesaro-Manuskript. Ein Beitrag zur Frühgeschichte der Lautentabulatur. Tutzing, 1988.Google Scholar

Ivanoff, Vladimir. Eine zentrale Quelle der frühen italienischen Lautenpraxis. Edition der Handschrift Pesaro, Biblioteca Oliveriana, Ms.1144. Tutzing, 1988.Google Scholar

Ivanoff, Vladimir. “Das Lautenduo im 15. Jahrhundert.” BJhM 8 (1984), 147–62.Google Scholar

Janse, Antheunis. “Het Muziekleven aan het Hof van Albrecht van Beieren (1358–1404).” TVNM 36 (1986), 136–57.Google Scholar

Janssen, Carole Ann. “The Waytes of Norwich in Medieval and Renaissance Civic Pageantry.” PhD diss., University of New Brunswick. 1977.Google Scholar

Jonas, Luise, ed. Das Augsburger Liederbuch. Berliner musikwissenschaftliche Arbeit, vol. 21. Munich-Salzburg, 1983.Google Scholar

Jones, Sterling. “Rebec.” In A Performer’s Guide. Ed. Duffin, Ross. 317–24.Google Scholar

Kämper, Dietrich. “Studien zur instrumentalen Ensemblemusik des 16. Jahrhunderts in Italien.” AM 10 (1970).Google Scholar

Kendrick, Robert. Celestial Sirens: Nuns and their Music in Early Modern Milan. Oxford, 1996.CrossRefGoogle Scholar

Kendrick, Robert. The Sounds of Milan, 1585–1650. Oxford, 2002.CrossRefGoogle Scholar

Kieffer, Paul. “An Approach to Reconstructing the First Lute Intabulations.” Lute Society of America Quarterly 49 (2014), 7–15.Google Scholar

Kimball, Roger. “The Fortunes of Permanence.” The New Criterion 20/10 (2002), 4–16.Google Scholar

Kirk, Douglas K, “Churching the Shawms in Renaissance Spain: Lerma, Archivo de San Pedro Ms. Mus. 1.” PhD diss., McGill University, 1993.Google Scholar

Kirk, Douglas K, “Cornett.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery. 79–96.Google Scholar

Kirk, Douglas K, Music for the Duke of Lerma; Canciones and Motets of Four, Five, and Six Voices; The Music of Archivo de San Pedro de Lerma ms. Mus. 1. Watertown, MA, 2003.Google Scholar

Kirk, Douglas K, “Rediscovered Works of Philippe Rogier in Spanish and Mexican Instrumental Manuscripts.” In Encomium Musicæ: Essays in Memory of Robert J. Snow. Ed. Crawford, David and Wagstaff, Grayson G.. Hillsdale, NY, 2002, 47–74.Google Scholar

Kirkendale, Warren. The Court Musicians in Florence during the Principate of the Medici. Florence, 1993.Google Scholar

Kirkman, Andrew. The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. Cambridge, 2010.Google Scholar

Kirnbauer, Martin. “Die Nürnberger Trompeten- und Posaunenmacher vor 1500 im Spiegel Nürnberger Quellen.” In Musik und Tanz zur Zeit Kaiser Maximilian I. Ed. Salmen, Walter. Innsbruck, 1992.Google Scholar

Kirsch, Dieter and Meierott, Lenz, ed. Berliner Lautentabulaturen in Krakau. Mainz, 1992.Google Scholar

Kite-Powell, Jeffery. “Capped Double Reeds.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 82–3.Google Scholar

Kite-Powell, Jeffery. “Crumhorn.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 63–8.Google Scholar

Kite-Powell, Jeffery. “Racket.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 93–5.Google Scholar

Kite-Powell, Jeffery T., ed. A Performer’s Guide to Renaissance Music. 2nd edition. New York, 2007.Google Scholar

Kmetz, John. Die Handschriften der Universitätsbibliothek Basel: Katalog der Musikhandschriften des 16. Jahrhunderts. Quellenkritische und historische Untersuchung. Basel, 1988.Google Scholar

Kmetz, John. “Singing Texted Sounds from Untexted Songbooks: The Evidence of the Basel Liederhandschriften.” In Le Concert des voix et des instruments. Ed Vaccaro, Jean-Michel, 141–3.Google Scholar

Koch, Klaus-Peter. “Studentische Lauten- und Claviertabulaturen im Ostseeraum des 16. und 17. Jahrhunderts und ihre Bedeutung für die Vermittlung eines europäischen Repertoires.” In Universität und Musik im Ostseeraum. Ed. Ochs, Ekkehard, et al. Berlin, 2009, 117–32.Google Scholar

Krautwurst, Franz. “Konrad Pauman.” Fränkische Lebensbilder. Veröffentlichungen der Gesellschaft für fränkische Geschichte. Ed. Pfeiffer, G. and Wendenburg, A., Series VII A, 7 (1977) 33–48.Google Scholar

Kreitner, Kenneth. “The Cathedral Band of León in 1548, and What it Played.” EM 30 (2003), 41–62.Google Scholar

Kreitner, Kenneth. “Minstrels in Spanish Churches, 1400–1600.” EM 20 (1992), 533–46.Google Scholar

Kreitner, Kenneth. “Music in the Corpus Christi Procession of Fifteenth-Century Barcelona.” EMH 14 (1995), 153–204.CrossRefGoogle Scholar

Kreitner, Kenneth. “The Repertory of the Spanish Cathedral Bands.” EM 37 (2009), 267–86.Google Scholar

Kurtzman, Jeffrey and Koldau, Linda Maria. “Trombe, Trombe d’argento, Trombe squarciate, Tromboni, and Pifferi in Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries.” JSCM 8 (2002), Accessed June 4, 2015. http://sscm-jscm.org/v8/no1/kurtzman.html.Google Scholar

Lasocki, David. The Bassanos: Venetian Musicians and Instrument Makers in England, 1531–1665. Aldershot and Brookfield, Vermont, 1995.Google Scholar

Lasocki, David. “Tracing the Lives of Players and Makers of the Flute and Recorder in the Renaissance.” In Musicque de Joye. Ed. Lasocki, David. 363–405.Google Scholar

Lasocki, David, ed. Musicque de Joye: Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003. The Hague, 2005Google Scholar

Layer, Adolf. Musik und Musiker der Fuggerzeit. Augsburg, 1959.Google Scholar

Lazzi, Giovanna, ed. Rime e suoni per corde spagnole: fonti per la chitarra barocca a Firenze. Florence, 2002.Google Scholar

Le Roy, Adrian, Breve et facile instruction … sur le luth. Paris [1567]. English translation as A briefe and easye instruction …. London, 1568; expanded in 1574.Google Scholar

Le Roy, Adrian, Les Instructions pour le luth (1574). Ed. Jacquot, Jean, Yves Sordes, Pierre and Vaccaro, Jean-Michel. Paris, 1977.Google Scholar

Leech-Wilkinson, Daniel. “Il libro de appunti di un suonatore di tromba del quindecesimo secolo.” RIM 16 (1981), 16–39.Google Scholar

Liguori, Francesco. L’arte del liuto: le botteghe dei Tieffenbrucker prestigiosi costruttori di liuti a Padova tra il Cinquecento e il Seicento. Padua, 2010.Google Scholar

Lingbeek-Schalekamp, C.Overheid en muziek in Holland tot 1672. n.p., 1984.Google Scholar

Litterick, Louise. “Chansons for Three and Four Voices.” In The Josquin Companion. Ed. Sherr, Richard. Oxford, 2000, 335–91.Google Scholar

Litterick, Louise. “Performing Franco-Netherlandish Secular Music of the Late Fifteenth Century.” EM 8 (1980), 474–85.Google Scholar

Lockwood, Lewis. Music in Renaissance Ferrara, 1400–1505. Cambridge, MA, 1984.Google Scholar

Lockwood, Lewis, ed. A Ferrarese Chansonnier, Roma Biblioteca Casanatense 2856. Lucca, 2002.Google Scholar

Maier, Ralph “Josquin’s Mass Settings for Vihuela, with a Critical Edition of Diego Pisador’s Intabulations of Faysant regretz (1552).” PhD diss., University of Calgary, 2011.Google Scholar

Marincola, Federico. “The Instructions From Vincenzo Capirola’s Lute Book: A New Translation.” The Lute 23, pt. 2 (1983), 23–8.Google Scholar

Marix, Jeanne. Histoire de la musique et des musiciens de la cour de Bourgogne sous le règne de Philippe le Bon. Strasbourg, 1939; reprint, Geneva, 1972.Google Scholar

Marlow, Richard, ed. Giles and Richard Farnaby, Keyboard Music. Musica Brittanica, 24. London, 1965.Google Scholar

Mason, Kevin. The Chitarrone and its Repertoire in Early Seventeenth-Century Italy. Aberystwyth, 1989.Google Scholar

Mason, Kevin. “Per cantare e sonare: Accompanying Italian Lute Song of the Late Sixteenth Century.” In Performance on Lute. Ed. Coelho, Victor, 72–107.Google Scholar

McCarthy, Kerry. “Josquin in England: An Unexpected Sighting.” EM 43 (2015), 449–54.Google Scholar

McCoy, Stewart. “Edward Paston and the Textless Lute-Song.” EM 15 (1987), 221–7.Google Scholar

McGee, Timothy J.The Ceremonial Musicians of Late Medieval Florence. Bloomington, 2009.Google Scholar

McGee, Timothy J. “Dinner Music for the Florentine Signoria, 1350–1450.” Speculum 74 (1999), 95–114.CrossRefGoogle Scholar

McGee, Timothy J. “Giovanni Cellini, Piffero of Florence.” HBSJ 12 (2000), 210–25.Google Scholar

McGee, Timothy J. “Instruments and the Faenza Codex.” EM 14 (1986), 480–90.Google Scholar

McGee, Timothy J. “The Medieval Fiddle: Tuning, Technique, and Repertory.” In Instruments, Ensembles, and Repertory. Ed. McGee, Timothy J. and Carter, Stewart, 31–56.CrossRefGoogle Scholar

McGee, Timothy J. and Carter, Stewart, ed. Instruments, Ensembles, and Repertory, 1300–1600: Essays in Honour of Keith Polk. Turnhout, 2013,CrossRefGoogle Scholar

McGinnis, Kathryn Tucker. “Your Most Humble Subject, Cesare Negri Milanese.” In Dance, Spectacle, and the Body Politick. Ed. Nevile, Jennifer, 211–28.Google Scholar

Memelsdorff, Pedro. The Codex Faenza 117: Instrumental Polyphony in Late Medieval Italy; Introductory Study and Facsimile Edition. Lucca, 2012/2013, vol. I, Introductory Study; vol. 2, Facsimile Edition.Google Scholar

Memelsdorff, Pedro. “The Filiation and Transmission of Instrumental Polyphony in Late Medieval Italy: The Codex Faenza 117.” PhD diss., University of Utrecht, 2010.Google Scholar

Memelsdorff, Pedro. “Motti a motti: Reflections on a Motet Intabulation of the Early Quattrocento.” Recercare 10 (1998), 39–68.Google Scholar

Milner, Stephen J., “Organ Culture and Organ Contracts in Renaissance Pistoia.” Recercare 12 (2000), 77–94.Google Scholar

Minamino, Hiroyuki. “Conrad Paumann and the Evolution of Solo Lute Practice in the Fifteenth Century.” JMR 6 (1986), 291–310.Google Scholar

Minamino, Hiroyuki. “Sixteenth-Century Lute Treatises with Emphasis on Process and Techniques of Intabulation.” PhD diss., University of Chicago, 1988.Google Scholar

Minamino, Hiroyuki. “The Spanish Plucked Viola in Renaissance Italy, 1480–1530.” EM 32 (2004), 177–92.Google Scholar

Morehen, John, ed. Claudio Merulo: Ricercari d’intavolatura d’organo. Madison, 2000.Google Scholar

Moser, Hans Joachim. Die Musikergenossenschaften im deutschen Mittelalter. Rostock, 1910.Google Scholar

Moser, Hans Joachim. Paul Hofhaimer. Revised edition. Hildesheim, 1966.Google Scholar

Muir, Edwin. Civic Ritual in Renaissance Venice. Princeton, 1981.CrossRefGoogle Scholar

Myers, Herbert W. “Flutes.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 378–82.Google Scholar

Myers, Herbert W. “Harp.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 187–93.Google Scholar

Myers, Herbert W. “Psaltery & Dulcimer.” In A Performer’s Guide. Ed. Duffin, Ross, 441–2.Google Scholar

Myers, Herbert W. “Recorder.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 41–55.Google Scholar

Myers, Herbert W. “Reeds & Brass.” In A Performer’s Guide. Ed. Duffin, Ross, 386–90.Google Scholar

Myers, Herbert W. “Renaissance Flute.” In A Performer’s Guide. Ed. Kite-Powell, Jeffery, 56–60.Google Scholar

Myers, Herbert W. “Renaissance Viol Tunings: A Reconsideration.” Journal of the Viola da Gamba Society of America 44 (2007–8), 13–40.Google Scholar

Myers, Herbert W. “The Sizes and Tunings of Early Viols: Some Questions (and a Few Answers.” Journal of the Viola da Gamba Society of America 38 (2001), 5–26 [with a follow up in the same journal, 40 (2003), 237–9].Google Scholar

Myers, Herbert W. “String Keyboards.” In A Performer’s Guide. Ed. Duffin, Ross, 431–9.Google Scholar

Nagler, Alois. Theatre Festivals of the Medici, 1539–1637. New York, 1964, reprint 1976.Google Scholar

Naylor, Tom L.The Trumpet & Trombone in Graphic Arts, 1500–1800. Nashville, TN, 1979.Google Scholar

Neighbour, Oliver. The Consort and Keyboard Music of William Byrd. Berkeley and Los Angeles, 1978.Google Scholar

Nelson, Bernadette. “The Chansons of Thomas Crecquillon and Clemens non Papa in Sources of Instrumental Music in Spain and Portugal, and Sixteenth-Century Keyboard Traditions.” In Beyond Contemporary Fame: Reassessing the Art of Clemens non Papa and Thomas Crecquillon. Ed. Jas, Eric. Turnhout, 2005, 167–89.Google Scholar

Nelson, Bernadette. “Music Treatises and ‘artes para tanger’ in Portugal Before the 18th Century: An Overview.” In Tratados de Arte em Portugal. Ed. Moreira, Rafael and Rodrigues, Ana Duarte. Lisbon, 2011.Google Scholar

Ness, Arthur. “The Herwarth Lute Manuscripts at the Bavarian State Library, Munich: A Bibliographical Study with Emphasis on the Works of Marco dall’Aquila and Melchior Newsidler.” PhD diss., 2 vols. New York University, 1984.Google Scholar

Ness, Arthur, ed. The Lute Music of Francesco Canova da Milano, 1497–1543. Cambridge, MA, 1970.Google Scholar

Nevile, Jennifer, ed. Dance, Spectacle, and the Body Politick. Bloomington, 2008.Google Scholar

Nevile, Jennifer, ed. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington, 2004.Google Scholar

Newcomb, Anthony. The Madrigal at Ferrara, 1579–1597. Princeton, 1980.Google Scholar

Nijsten, Gerard. Het Hof van Gelre: Cultuur ten tijde van de hertogen uit het Gulikse en Egmondse huis (1371–1473). 2nd edition. Kampen, 1992.Google Scholar

Nordstrom, Lyle. “Albert de Rippe: Joueur de luth du Roy.” EM 7 (1989), 378–85.Google Scholar

Nösselt, Hans-Joachim. Ein ältest Orchester 1530–1980. 450 Jahre Bayerisches Hof- und Staatsorchester. Munich, 1980.Google Scholar

Oettinger, Rebecca. Music as Propaganda in the German Reformation. Aldershot and Burlington, Vermont, 2001.Google Scholar

Ongaro, Giulio. “The Chapel of St. Mark’s at the time of Adrian Willaert (1527–1562), A Documentary Study.” PhD diss., University of North Carolina, 1986.Google Scholar

Ongaro, Giulio. “Sixteenth-Century Venetian Wind Instrument Makers and their Clients.” EM 13 (1985), 391–7.Google Scholar

Ongaro, Giulio. “The Tieffenbruckers and the Business of Lute-making in Sixteenth-Century Venice.” GSJ 44 (1991), 46–54.Google Scholar

Ortiz, Diego. Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones. Rome, 1553. Ed. Schneider, Max. Kassel, 1936; facsimile edition, Florence, 1984.Google Scholar

Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition, 1450–1600. Oxford, 1997.CrossRefGoogle Scholar

Owens, Jessie Ann, ed. Kraków, Biblioteka Jagiellónska, Glogauer Liederbuch. Renaissance Music in Facsimile. Ed. Brown, Howard Mayer, D’Accone, Frank A., and Owens, Jessie Ann, vol. 6. New York and London, 1986.Google Scholar

Page, Christopher. “David Fallows and the Performance of Medieval Music.” In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois et bonne estrenne. Ed. Fitch, Fabrice and Kiel, Jacobijn. Woodbridge, Suffolk, 2011, 2–8.Google Scholar

Page, Christopher. “The 15th-century Lute: New and Neglected Sources.” EM 9 (1981), 11–21.Google Scholar

Page, Christopher. The Guitar in Tudor England: A Social and Musical History. Cambridge, 2015.CrossRefGoogle Scholar

Palisca, Claude. Girolamo Mei: Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi. 2nd ed. American Institute of Musicology, 1977.Google Scholar

Palisca, Claude. “Vincenzo Galilei and Some Links Between Pseudo-Monody and Monody.” MQ 46 (1960) 344–6.Google Scholar

Palisca, Claude. “Vincenzo Galilei’s Arrangements for Voice and Lute.” In Essays in Musicology in Honor of Dragan Plamenac. Ed. Reese, Gustave and Snow, Robert J.. Pittsburgh, 1969, 207–32.Google Scholar

Palisca, Claude. “Was Galileo’s Father an Experimental Scientist?” In Music and Science in the Age of Galileo. Ed. Coelho, Victor. 143–51.CrossRefGoogle Scholar

Pavan, Franco. “Francesco da Milano (1497–1543).” Tesi di Laurea, Università di Milano, 1996–97.Google Scholar

Pearsall, Eileen Sharpe. “Tudor Court Musicians, 1485–1547: Their Number, Status and Function.” PhD diss., New York University, 1986.Google Scholar

García, Pérez, del Carmen, María. Los ángeles músicos de la catedral de Valencia. Valencia, 2006.Google Scholar

Peruffo, Mimmo. “Balance on the Lute: The Role of the Strings.” In The Music Room in Early Modern France and Italy. Ed. Howard, Deborah and Moretti, Laura. Oxford, 2012, 135–44.Google Scholar

Peters, Gretchen. The Musical Sounds of Medieval French Cities: Players, Patrons, and Politics. Cambridge, 2012.CrossRefGoogle Scholar

Pirro, André. La musique à Paris sous le règne de Charles VI (1380–1422). Strasbourg, 1930; reprint, Geneva, 1973.Google Scholar

Pirrotta, Nino. “Music and Cultural Tendencies in 15th-Century Italy.” JAMS 19 (1966), 127–61.Google Scholar

Pirrotta, Nino. Music and Theatre from Poliziano to Monteverdi. trans. Eales, Karen. Cambridge, 1982.Google Scholar

Plamenac, Dragan, ed. Keyboard Music of the Late Middle Ages in Codex Faenza 117. n.p., 1972.Google Scholar

Polk, Keith. “Augustein Schubinger and the Zinck: Innovation in Performance Practice.” HBSJ 1 (1989), 83–92.Google Scholar

Polk, Keith. “English Instrumental Music in the Fifteenth Century.” In Uno Gentile et Subtile Ingenio. Ed. Bloxam, Jennifer M., Filocamo, Gioia, and Holford-Strevens, Leofranc. 659–67.CrossRefGoogle Scholar

Polk, Keith. “Ensemble Instrumental Music in Flanders-1450–1550.” Journal of Band Research 11 (1975), 12–27.Google Scholar

Polk, Keith. “Foreign and Domestic in Italian Instrumental Music of the Fifteenth Century.” In Musica Franca: Essays in Honor of Frank A. D’Accone. Ed. Alm, Irene, McLamore, Alyson, and Reardon, Colleen. Stuyvesant, NY, 1996, 323–32.Google Scholar

Polk, Keith. German Instrumental Music in the Late Middle Ages: Players, Patrons and Performance Practice. Cambridge, 1992.Google Scholar

Polk, Keith. “Instrumental Music in the Urban Centres of Renaissance Germany.” EMH 7 (1987), 159–86.CrossRefGoogle Scholar

Polk, Keith. “The Schubingers of Augsburg: Innovation in Renaissance Instrumental Music.” In Quaestiones in musica. Festschrift für Franz Krautwurst. Ed. Brusniak, Friedhelm and Leuchtmann, Horst. Tutzing, 1989. 495–503.Google Scholar

Polk, Keith. “Susato and Instrumental Music in Flanders in the 16th Century.” In Tielman Susato. Ed. Polk, Keith. 63–102.Google Scholar

Polk, Keith. “Voices and Instruments: Soloists and Ensembles in the 15th Century.” EM 18 (1989), 179–98.Google Scholar

Polk, Keith, ed. Tielman Susato and the Music of His Time. Hillsdale, 2005.Google Scholar

Poulton, Diana. John Dowland. Revised edition. Berkeley and Los Angeles, 1982.Google Scholar

Pozniak, Piotr. “Problems of Tonality in the Ricercars of Spinacino and Bossinensis.” JLSA 23 (1990), 64–80.Google Scholar

Prizer, William. “The Frottola and the Unwritten Tradition.” Studi Musicali 15 (1986), 3–37.Google Scholar

Prizer, William. “Instrumental Music / Instrumentally Performed Music ca. 1500: The Genres of Paris, Bibliothèque Nationale, Ms Rés.Vm.⁷ 676.” In Le concert des voix et des instruments. Ed. Vaccaro, Jean-Michel. 185–7.Google Scholar

Rastall, Richard. “The Minstrels of the English Royal Households, 25, Edward I – 1 Henry VIII: An Inventory.” Royal Music Association Research Chronicle 4 (1964), 1–41.Google Scholar

Rastall, Richard. Minstrels Playing Music in Early English Religious Drama. Woodbridge, Suffolk, 2001.Google Scholar

Rastall, Richard. “Secular Musicians in Late Medieval England.” PhD diss., Manchester University, 1968.Google Scholar

Remnant, Mary. English Bowed Instruments from Anglo-Saxon to Tudor Times. Oxford, 1986.Google Scholar

Rensch, Roslyn. Harps and Harpists. Revised edition. Bloomington, 2007.Google Scholar

Rifkin, Joshua. “Franco-Netherlandish Repertory in an Early 16th-Century German Manuscript.” Unpublished paper presented at the New England Chapter Meeting of the American Musicological Society, Yale University, 10 April 1971.Google Scholar

Rifkin, Joshua. “Munich, Milan, and a Marian Motet: Dating Josquin’s Ave Maria … virgo serena.” JAMS 56 (2003), 239–350.Google Scholar

Robinson, Thomas. The Schoole of Musicke (1603). Edited and transcribed by Lumsden, David. Paris, 1971.Google Scholar

Robledo Estaire, Luís. “La estructuración de las casas reales: Felipe II como punto de encuentro y punto de partida.” In Aspectos de la Cultura musical en la corte de Felipe II. Ed. Estaire, Luís Robledo, Knighton, Tess, Ibáñez, Cristina Bordas, and José Carreras, Juan, 1–34.Google Scholar

Rogniono, Richardo. Passagi per potersi essercitare nel diminuire terminatamente con ogni sorte d’instromente. Venice, 1592.Google Scholar

Rosenberg, Jesse. “Il vero modo di diminuir – Girolamo Dalla Casa: A Translation.” HBSJ 1 (1989), 109–14.CrossRefGoogle Scholar

Rubsamen, Walter. “The Earliest French Lute Tablature.” JAMS 21 (1968), 286–99.Google Scholar

Ruhnke, Martin. Beiträge zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert. Berlin, 1963.Google Scholar

Ruiz Jiménez, Juan. “The Mid-Sixteenth-Century Franco-Flemish Chanson in Spain: The Evidence of Ms. 975 of the Manuel de Falla Library.” TVNM 51 (2001), 25–41.Google Scholar

Ruiz Jiménez, Juan. “Power and Musical Exchange: The Dukes of Medina Sidonia in Renaissance Seville.” EM 37 (2009), 401–15.Google Scholar

Sachs, Klaus-Jürgen. “Arten improvisierter Mehrstimmigkeit nach Lehrtexten des 14. bis 16. Jahrhunderts.” BJhM 7 (1983), 166–83.Google Scholar

Sachs, Klaus-Jürgen. De modo compenendi: Studien zu musikalischen Lehrtexten des späten 15. Jahrhunderts. Olms, 2002.Google Scholar

Sachs, Klaus-Jürgen. Der Contrapunctus im 14. und 15. Jahrhundert. Beihefte zum Archiv für Musikwissenschaft, vol. 13. Wiesbaden, 1974.Google Scholar

Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. 29 vols. 2nd edition. London, 2001.Google Scholar

Salmen, Walter. Der Spielmann im Mittelalter. Innsbruck, 1983.Google Scholar

Sandberger, Adolf. Beiträge zur Geschichte der bayerischen Hofkapelle unter Orlando di Lasso. Leipzig, 1894–5, reprint, Walluf b. Wiesbaden, 1973.Google Scholar

Schmidt, Henry Louis, III. “The First Printed Lute Books: Francesco Spinacino’s Intabulatura de Lauto, Libro primo and Libro secondo.” PhD diss., University of North Carolina, Chapel Hill, 1969.Google Scholar

Schubert, Peter. “From Improvisation to Composition; Three 16th-century Case Studies.” In Improvising Early Music, Geschriften van het Orpheus Instituut/Collected Writings of the Orpheus Insitute. Ed. Moelants, Dirk. Leuven, 2014, 93–130.CrossRefGoogle Scholar

Schure, Steffen. Die Geschichte des Stadtmusikantentums in Ulm (1388–1840). Ulm and Stuttgart, 2007.Google Scholar

Schwab, Heinrich W.Die Anfänge des weltlichen Berufsmusikertums in der mittelalterlichen Stadt. Kieler Schriften zur Musikwissenschaft 24. Kassel, 1982.Google Scholar

Schwindt, Nicole. “Hans Mielichs bildliche Darstellung der Münchner Hofkapelle von 1570.” AM 68 (1996), 48–85.Google Scholar

Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Oxford, 1975.Google Scholar

Silbiger, Alexander. “Music and the Crisis of Seventeenth-Century Europe.” In Music and Science in the Age of Galileo. Ed. Coelho, Victor, 35–44.CrossRefGoogle Scholar

Silbiger, Alexander, ed. Keyboard Music Before 1700. 2nd edition. New York, 2004.CrossRefGoogle Scholar

Slim, H. Colin. “Gian and Gian Maria, Some Fifteenth- and Sixteenth-Century Namesakes.” MQ 57 (1971), 562–74.Google Scholar

Slim, H. Colin. “Musicians on Parnassus.” Studies in the Renaissance 12 (1965), 134–63.Google Scholar

Slim, H. Colin. Painting Music in the Sixteenth Century: Essays in Iconography. New York, 2002.Google Scholar

Slootmans, C. J. F.De Heilig Kruis Ommegang van Bergen op Zoom. Bergen op Zoom, 1946.Google Scholar

Slootmans, C. J. F. “De Hoge Lieve Vrouw van Bergen op Zoom.” II, Jaarboek van de Oudheidkundige Kring “de Ghulden Roos” 25 (1965), 193–233.Google Scholar

Smijers, Albert. De Illustre Lieve Vrouwe Broederschap te ’s-Hertogenbosch. Uitgave der Vereeniging voor Nederlandsche Muziekgeschiedenis, I. Amsterdam, 1932.Google Scholar

Smith, Anne. The Performance of 16th-Century Music: Learning from the Theorists. New York, 2011.Google Scholar

Smith, David J. “A Legend? Francis Tregian the Younger as Music Copyist.” The Musical Times, 143 (Summer, 2002), 7–16.CrossRefGoogle Scholar

Smith, Douglas A.A History of the Lute. n.p., 2002.Google Scholar

Smith, Douglas A. “The Instructions in Matthaeus Waissel’s Lautenbuch.” JLSA 8 (1975), 49–79.Google Scholar

Smith, Jeremy, ed. William Byrd, Psalmes, Songs and Sonnets (London: Thomas East, 1588). The Byrd Edition 12. London, 2004.Google Scholar

van Waesberghe, Smits, Josef. “Een 15de eeuws muziekboek van de stadsministrelen van Maastricht?” In Renaissance-Muziek 1400–1600. Donum Natalicium René Bernard Lenaerts. Ed. Robijns, Jozef. Leuven, 1969, 247–73.Google Scholar

Snyder, Kerala, ed. The Organ as a Mirror of its Time: North European Reflections, 1610–2000. Oxford, 2002.CrossRefGoogle Scholar

Soehnlein, Edward J. “Diruta on the Art of Keyboard-Playing: An Annotated Translation and Transcription of Il Transilvano, pts. I (1593) and II (1609).” PhD diss., University of Michigan, 1975.Google Scholar

Southard, Marc and Cooper, Suzana. “A Translation of Hans Newsidler’s Ein newgeordent künstlich Lautenbuch … (1536).” JLSA 11 (1978) 5–25.Google Scholar

Spencer, Robert. “Dowland’s Dance Songs: Those of his Compositions Which Exist in Two Versions, Songs and Instrumental Dances.” In Le Concert des voix et des instruments. Ed. Jean-Michel Vaccaro, 587–99.Google Scholar

Spiessens, Godelieve. “De Antwerpse stadsspeellieden Deel I: 15e en 16e eeuw.” Noordgouw 10 (1970), 1–53.Google Scholar

Spiessens, Godelieve. De Antwerpse stadsspellieden (ca. 1411–1749). Deel I, Antwerp, 2014.Google Scholar

Spitzer, John and Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650–1815. Oxford and New York, 2004.CrossRefGoogle Scholar

Spring, Matthew. The Lute in Britain: a History of the Instrument and its Music. Oxford and New York, 2001.CrossRefGoogle Scholar

Staehelin, Martin. “Norddeutsche Fragmente mit Lautenmusik um 1460 in Wolfenbüttel.” In Kleinüberlieferung mehrstimmiger Musik vor 1550 in deutschem Sprachgebiet. Berlin, 2012, 67–88 and 141–4.Google Scholar

Steele, John and Cameron, Francis, ed. John Bull, Keyboard Music. Revised edition. Musica Brittanica 14. London, 1967.Google Scholar

Stevens, John. Music and Poetry in the Early Tudor Court. Revised edition. Cambridge, 1979.Google Scholar

Stevens, John, ed. Music at the Court of Henry VIII. Musica Britannica XVII. London, 1973.Google Scholar

Stevenson, Robert M. “European Music in 16th-Century Guatemala.” MQ 50 (1964), 341–52.Google Scholar

Stevenson, Robert M.Spanish Music in the Age of Columbus. The Hague, 1960.CrossRefGoogle Scholar

Straeten, Edmond Vander. Les Ménestrels aux Pays-Bas du XIIIe au XVIIIe siècle. Brussels, 1878.Google Scholar

Strohm, Reinhard. Music in Late Medieval Bruges. Oxford, 1985.Google Scholar

Strohm, Reinhard. The Rise of European Music 1380–1500. Cambridge, 1993.Google Scholar

Tarr, Edward. The Trumpet. London, 1988.Google Scholar

Thompson, Glenda Goss. “Music in the Court Records of Mary of Hungary.” TVNM 34 (1984), 132–51.Google Scholar

Thompson, Ruby Reid. “Francis Tregian the Younger as Music Copyist: A Legend and an Alternative View.” ML 82 (2001), 1–31.Google Scholar

Tinctoris, Johannes. The Art of Counterpoint. Translated and edited by Seay, Albert. n.p., 1961.Google Scholar

Toffolo, Stefano. Antichi strumenti Veneziani. Venice, 1987.Google Scholar

Toffolo, Stefano. Strumenti musicali a Venezia. Cremona, 1995.Google Scholar

Towne, Gary. “Tubatori e Piffari: Civic Wind Players in Medieval and Renaissance Bergamo.” HBSJ 9 (1997), 175–95.Google Scholar

Toulouse, Michel de. L’art et instruction de bien dancer. Paris, 1488–96.Google Scholar

Treadwell, Nina. “She Descended on a Cloud ‘From the Highest Spheres’: Florentine Monody ‘alla Romanina’.” Cambridge Opera Journal 16 (2004), 1–22.CrossRefGoogle Scholar

Troiano, Massimo. Dialoghi. Munich, 1568. Mod. ed. in Die Münchner Fürstenhochzeit von 1568: Massimo Troiano. Ed. Leuchtmann, Horst. Munich-Salzburg, 1980.Google Scholar

Tyler, James and Sparks, Paul. The Guitar and its Music from the Renaissance to the Classical Era. Oxford, 2002.CrossRefGoogle Scholar

Urquhart, Peter and de Savage, Heather. “Evidence Contrary to the a cappella Hypothesis for the 15th-Century Chanson.” EM 39 (2011), 359–78.Google Scholar

Vaccaro, Jean-Michel. “The Fantasia sopra … in the Works of Jean-Paul Paladin.” JLSA 23 (1990), 18–36.Google Scholar

Vaccaro, Jean-Michel. La musique de luth en France au XVIe siècle. Paris, 1981.Google Scholar

Vaccaro, Jean-Michel, ed. Le Concert des voix et des instruments à la Renaissance. Paris, 1995.Google Scholar

Vaccaro, Jean-Michel, ed. Œuvres d’Albert de Rippe: II. Motets / Chansons (première partie). Paris, 1974.Google Scholar

Vaccaro, Jean-Michel, ed. Œuvres d’Albert de Rippe: I. Fantaisies. Paris, 1972.Google Scholar

Vaughan, Richard. Valois Burgundy. London, 1975.Google Scholar

Vente, Maarten Albert, ed. Bouwstenen voor een geschiedenis der toonkunst in de Nederlande, 3. Utrecht and Amsterdam, 1980.Google Scholar

Virdung, Sebastian. Musica getutscht. Basel, 1511. Modern edition in Musica getutscht: A Treatise on Musical Instruments. Translated and edited by Bullard, Beth. Cambridge, 1993.Google Scholar

Warburton, Thomas, ed. Keyboard Intabulations of Music by Josquin des Prez. Recent Researches in the Music of the Renaissance 34. Madison, 1980.CrossRefGoogle Scholar

Wallner, Berta Antonia, ed. Das Buxheimer Orgelbuch. Das Erbe Deutscher Musik, vols. 37–39. Kassel-Basel-London, 1958.Google Scholar

Wegman, Rob C. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500.” JAMS 49 (1996), 409–79.Google Scholar

Wegman, Rob C. “The State of the Art.” In Renaissance? Perceptions of Continuity and Discontinuity in Europe, c.1300-c.1550. Ed. Péporté, Pit and Schnitke, Harry. Leiden, 2010, 129–60.Google Scholar

Weiss, Susan F. “Bologna Q18: Some Reflections on Content and Context.” JAMS 41 (1988), 63–101.Google Scholar

Welker, Lorenz. “‘Alta Capella’ zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert.” BJhM 7 (1983), 150–61.Google Scholar

Welker, Lorenz. “Wind Ensembles in the Renaissance.” In Companion to Medieval and Renaissance Music. Ed. Knighton, Tess and Fallows, David. New York, 1992, 146–53.Google Scholar

Williams, Peter. The European Organ 1450–1850. London, 1980.Google Scholar

Williams, Peter. A New History of the Organ. Bloomington and London, 1980.Google Scholar

Wilson, Blake. Music and Merchants: The Laudesi Companies of Republican Florence. Oxford, 1992.CrossRefGoogle Scholar

Wilson, David R. “The Basse Dance c.1445-c.1545.” In Dance, Spectacle, and the Body Politick. Ed. Nevile, Jennifer, 174–8.Google Scholar

Wolff, Christoph. “Conrad Paumanns Fundamentum organisandi und seine verschiedenen Fassungen.” AMw 25 (1968), 196–222.Google Scholar

Woodfield, Ian. The Early History of the Viol. Cambridge, 1984.Google Scholar

Woodfill, Walter L.Musicians in English Society from Elizabeth to Charles I. Princeton, 1953, reprint, New York, 1969.Google Scholar

Wright, Craig. Music at the Court of Burgundy. Henryville-Ottawa-Binningen, 1979.Google Scholar

Wright, Laurence. “The Medieval Gittern and Citole: A Case of Mistaken Identity.” GSJ 30 (1977), 9–42.Google Scholar

Wustmann, Rudolf. Musikgeschichte Leipzigs, vol. 1: Bis zur Mitte des 17. Jahrhunderts. Leipzig and Berlin, 1909.CrossRefGoogle Scholar

Yong, Kwee Him. “Sixteenth-Century Printed Instrumental Arrangements of Works by Josquin des Prez. An Inventory.” TVNM 22 (1971), 43–66.Google Scholar

Young, Crawford. “The King of Spain: una bassadanza troppo forte.” Lute Society of America Quarterly 48 1 & 2 (2013), 40–61.Google Scholar

Young, Crawford. “Lute, Gittern, & Citole.” In A Performer’s Guide. Ed. Duffin, Ross (2002), 355–75.Google Scholar

Young, Crawford. “Zur Klassifikation und ikonographischen Interpretation mittelalterlicher Zupfinstrumente.” BJhM 8 (1984), 67–103.Google Scholar

Young, Crawford and Kirnbauer, Martin, ed. Frühe Lautentabulaturen im Faksimile. Winterthur, 2003.Google Scholar

Zacconi, Ludovico. Prattica di musica. Venice, 1592, reprint, Hildesheim, 1982.Google Scholar

Zak, Sabine. Music als ‘Ehr und Zier’ im mittelalterlichen Reich. Neuss, 1978.Google Scholar