Skip to main content
The Cambridge History of Seventeenth-Century Music
  • Edited by Tim Carter, University of North Carolina, Chapel Hill , John Butt, University of Glasgow

  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    The Cambridge History of Seventeenth-Century Music
    • Online ISBN: 9781139053860
    • Book DOI:
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to? *
  • Buy the print book

Book description

The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs.


‘Each of the essays delivers on the book's promise of a strong emphasis on the institutions, cultures, and politics of the age.'

Source: Choice

‘The editors should be commended for constructing such a thorough and such an interesting work. I most highly recommend this volume to all musicologists, students, general historians and all persons interested in the development of music. It is a must for all libraries.'

Source: American Reference Books Annual

‘This History contains an incredible amount of information concerning all aspects of music in that period.'

Source: Opera Journal

'The Cambridge History of Seventeenth-Century Music succeeds equally as a solid reference text and as a fine collection of related essays. It fills a large void in the scholarly literature, and it does so in a way that will engage, inform and enthuse a broad spectrum of readers for years to come.'

Source: Early Music

    • Aa
    • Aa
Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to .

    To send content to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

    Note you can select to send to either the or variations. ‘’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

    Find out more about the Kindle Personal Document Service.

    Please be advised that item(s) you selected are not available.
    You are about to send:

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
  • 1 - Renaissance, Mannerism, Baroque
    pp 1-26
  • DOI:
  • View abstract
    The important music produced during the Renaissance period will be somehow identifiable with the Renaissance in general. The chief difficulties facing notions of a musical Renaissance are of a somewhat different order. Although it was possible to view Greek and Roman ruins and statuary, and to read Classical texts in the original or, increasingly, in translation, no ancient music survived. Art historians have broadly adopted the idea of Mannerism as a style-period separating the High Renaissance from the Baroque, and brought on by the political, social and economic upheavals of Italy in the sixteenth century after the French invasions of the peninsula and the Sack of Rome. Mannerism has been called the stylish style, and certainly stylishness was claimed a virtue by many critics in the sixteenth century: thus Raphael criticised Gothic architecture for being devoid of all grace and entirely without style.
  • 2 - The seventeenth-century musical ‘work’
    pp 27-54
  • DOI:
  • View abstract
    In this chapter, the author suggests that the status of musical works and the various developments of the era need to be examined from the broader perspective of seventeenth-century culture, looking beyond the way in which pieces of music are instantiated. All speculative music theorists of the seventeenth century continued to see music as something intimately connected to the structure of the universe, it remains to be seen how composers could assert their individuality, and how pieces of music could readily be distinguished from one another. The concept of compositional perfection as held at the outset of the seventeenth century tended to work against the idea of the composer as original genius. The theoretical conception of disenchantment is particularly relevant to the discussion of the development of the concept of works. Willem Erauw draws attention to a particular point made in Goehr's thesis concerning the development of musical works around 1800.
  • 3 - Music in the market-place
    pp 55-87
  • DOI:
  • View abstract
    Professional musicians must make a living, and thus their activities are bound by economic forces and by society's various demands for their craft. The seventeenth century was a time of such social and economic upheaval that musicians could scarcely escape unscathed. The pace and variety of change posed many challenges to professional musicians. A few women musicians saw their careers flourish and were among the highest-paid performers of the century. Domestic music was richest in towns, where the population also provided a market for many other types of music. The biggest innovation in urban music was the opening of opera houses to paying audiences, starting with the Teatro S. Cassiano in Venice in 1637. The polarisation of listeners and music-makers was of great importance for the formation of the profession. Musical dissemination was fragmenting into niche markets that reflected the diversification of genres and styles. The prestige of printed music is evident in the practice of presenting copies.
  • 4 - Music in new worlds
    pp 88-110
  • DOI:
  • View abstract
    This chapter examines how swiftly and comprehensively repertories, instruments, performance styles and ceremonial practices were transmitted along the routes of exploration in the sixteenth and seventeenth centuries, allowing the Oriental, Old and New worlds to share common musical experiences at roughly the same time. One of the richest areas of study towards evaluating the inter-relationships among colonial cultures involves the history and transmission of musical instruments. As a barometer of crosscultural influence, instrumental families have long been central sources for ethnomusicologists: they bear witness to a long history of multi-cultural appropriation, and they are also indicators of status and class, and, to use Bourdieu's term, of cultural capital. By the middle of the seventeenth century, lutes and vihuelas begin to be mentioned in Goa. Music was seen as a powerful political medium both in Europe and beyond, and it was very much part of the cultural and political imperatives of both the Portuguese and the Jesuits.
  • 5 - Music and the arts
    pp 111-131
  • DOI:
  • View abstract
    In many ways, the arts in the seventeenth century were shaped by the same aesthetic principles that had held sway during the sixteenth: the Humanist belief that a work of art had the ability, through imitation, to portray psychological, moral and other realities, and the power, through rhetorical means, to make those realities present to others. In music, the subject of text expression became the locus classicus for the debate between the conservatives and the moderns. The seventeenth century was one of taxonomies, of ordering and objectifying everything from the passions of the soul to the senses of the body. Expressing emotion was at the core of the Baroque aesthetic, and emotion was a function of motion. The pursuit of naturalism led inevitably to the Baroque cultivation of illusion. The seventeenth century was the Golden Age of European drama, beginning with William Shakespeare and closing with Jean Racine.
  • 6 - Music and the sciences
    pp 132-157
  • DOI:
  • View abstract
    This chapter concerns the 'science' of music itself: how the field of musical knowledge was defined, classified and understood in the seventeenth century. It explores where music fitted into classifications of the arts and sciences more generally. The chapter examines how music, as an art, a body of skill, and a practice, contributed to changing understandings of 'science' and the 'sciences' during the seventeenth-century 'Scientific Revolution', an astonishing period of intellectual transformation during which it is generally recognised that the conceptual, methodological and institutional foundations of modern science were first established. Speculative music constituted the kind of philosophical knowledge that intellectuals might be expected to possess about music, a body of doctrine that was usually produced by graduates. Galileo Galilei is regarded as a leading figure of the seventeenth-century Scientific Revolution. Francis Bacon's writings had a demonstrable influence on later seventeenth-century experimental research. Marin Mersenne's contribution to seventeenth-century acoustics and musical science can hardly be overestimated.
  • 7 - The search for musical meaning
    pp 158-196
  • DOI:
  • View abstract
    Musical meaning became less a matter of universals than something contingent upon time and place. The emerging focus in the sixteenth century on the poetics of music fostered a range of new analytical and critical tools for approaching musical works of art. The influence of Classical poetics on the emergence of musical poetics was guaranteed in part by Humanist precedent. For seventeenth-century music, issues of tonal structure are complex and have yet to be fully resolved. The traditional view has the period marking a transition from Renaissance modes to the major-minor tonalities of the Classical period. Musical signifiers range from the literal to the conventional, where the musical sign stands as an emblem representing the thing being imitated without bearing any resemblance to it. Instrumental music continued both to draw on vocal models and to rely on sixteenth-century styles and genres. Baroque notation is more specific than that of the Renaissance, in terms of embellishment, articulation, dynamics, tempo and instrumentation.
  • 8 - Power and display: music in court theatre
    pp 197-240
  • DOI:
  • View abstract
    The seventeenth century inherited a well-established tradition of magnificent courtly spectacle. For centuries, European rulers had celebrated special occasions with feasts, tournaments and jousts, and parade-like entries into their domains, all involving spectacular decoration, costume and pageantry. Lavish spending on building projects and art works served the state by displaying the monarch's power and prestige. The music involves an alternation of segments for five-part chorus with accompanying instruments, and sections for a trio of dancing soprano soloists, accompanying themselves on guitars and a cembalino. Orfeo attempts to persuade Caronte with the power of his singing. Monteverdi presented the vocal music in two versions: one quite plain, indicating the basic melodic line, and the other with elaborate, virtuosic ornamentation of the sort a singer of the time would have added. An important footnote to the subject of Barberini patronage concerns the interventions of Italians in musical theatre at the royal courts of France in the 1640s and Spain in the 1650s.
  • 9 - Mask and illusion: Italian opera after 1637
    pp 241-282
  • DOI:
  • View abstract
    This chapter focuses on the fact that Italy simply reflects the realities of a music genre which was to remain dominated by Italians through the eighteenth and nineteenth centuries. The operas performed in the north Italian courts and in Rome in the first third or so of the seventeenth century formed just part of a broader gamut of princely entertainment that also embraced plays with intermedi, balli, mascherate, and various kinds of tournaments. Opera became firmly entrenched within the so-called 'myth of Venice', the tropes by which the city projected its self-image as a republican paradise. Maiolino Bisaccioni made the point in his account of the spectacular stagings achieved by the scene-designer Giacomo Torelli in the Teatro Novissimo. Court opera, in its early stages, had been concerned with the ever-problematic question of the verisimilitude of singing on stage. Opera could be exported to other countries, where it might, in turn, vie with more indigenous forms of entertainment.
  • 10 - The Church Triumphant: music in the liturgy
    pp 283-323
  • DOI:
  • View abstract
    During the seventeenth century, religious observance played an essential part in people's lives, both as the consequence of a pervasive system of belief that was seldom questioned, and as the crucial declaration of a confessional allegiance that might also have strong political overtones. This chapter focuses on the formal liturgical music composed for major services of various denominations, it is important to emphasise that polyphonic art music formed only a part of any church service in the seventeenth century: it was composed for, and experienced as part of, a broader liturgical context, knowledge of which is essential to understand its function and meaning. Plainchant intonations, plainchant or organ alternatim verses, chanted prayers and readings, are only the most obvious ways in which polyphony was spaced and framed. For Catholics, ritual gestures and movements, the perfume of incense, the relative locations of clergy and choir(s), vestments, paintings, tapestries and platforms, all had a role to play in the overall experience.
  • 11 - Devotion, piety and commemoration: sacred songs and oratorios
    pp 324-377
  • DOI:
  • View abstract
    Sacred music was made across a range of ritual or habitual activities outside the prescribed liturgy, and the space,corporate or personal, in which the art was to have its effect was also variable.This chapter discusses some of the vernacular sacred pieces ranged from the top to the bottom of society. The tradition of royal piety continued from before: the Marian/Cross devotion of Emperor Ferdinand II, a direct outgrowth of the traditional Habsburg themes of the pietas austriaca, had remarkably direct expression in the motet production of his Italian Kapellmeister Giovanni Valentini. For much of Catholic Europe, religious orders were central to vernacular music; in Italy the most obvious case is the Oratorians, the institutional patrons and transmitters of the lauda repertory old and new. Far from the middle-to-high culture of Europe, devotional music played an important role in the spread of Western ideologies.
  • 12 - Image and eloquence: secular song
    pp 378-425
  • DOI:
  • View abstract
    This chapter emphasizes that the moral issues attached to music apply exactly to the increasingly cultured citizens of the upper bourgeoisie, even to those who had risen to high ranks within the Roman Church or to families with newly purchased titles of nobility. By the middle of the sixteenth century, the teaching of Latin grammar, dialectics and rhetoric had been adapted to instruction in modern languages in new petty and grammar schools, colleges and charity endowed institutions. Subjects such as eloquence and elocution which were not new to Humanistic education were now brought to bear on the vernacular. Eloquence derived from the use of rhetorical figures of speech. Highly eloquent texts, such as Elizabethan and Jacobean poems, needed effective elocution, or delivery, in order for listeners to grasp their figures and make sense of them. Writing poetry to already existing music also crossed language barriers, high and low genres of song, and the secular and religious spheres.
  • 13 - Fantasy and craft: the solo instrumentalist
    pp 426-478
  • DOI:
  • View abstract
    In practical and statistical terms, the role of seventeenth-century instrumental music is essentially modest and of minority significance. Plenty of evidence survives for an intensely active culture of solo playing throughout Europe. The ceremony manuals of churches and similar documents provide generous testimony to the nearly universal presence of organ solos in the liturgy. This chapter seeks to do some justice to instruments and their repertories, to the functional and other contexts of solo instrumental performance, and to the music itself. Most of the instruments used for solo performance have their own literature, with only sporadic overlap. Developments in the keyboard and lute repertories could both parallel one another and diverge notably, depending on the period and region. The two usual venues for solo playing, church and chamber, had quite different requirements. Churches were the domain of organists, trained professionals who often operated in a highly public arena on the largest instruments known to Christendom.
  • 14 - Form and gesture: canzona, sonata and concerto
    pp 479-532
  • DOI:
  • View abstract
    Instrumental music followed patterns of dissemination similar to vocal genres, opera, cantata, and oratorio that began in Italy and spread further to mingle with non-Italian musical traditions. Of all genre designations used for instrumental music, canzona is one of the most revealing because it points to a specific compositional model, the chanson. The principal cities of early canzona composition were Brescia and Venice. The sonata enters the field of the seconda praticawith its search for new forms of musical expression and emotional arousal. For composers of ensemble music, affetto was applied in a specific sense to moments of harmonic intensity in slow, chordal sections, with chromaticism, cross-relations, dissonances and unusual melodic movement. The dissemination of the concerto to Salzburg, Passau and London in the hands of the internationally travelled Muffat and Handel constitutes just one facet of the remarkable exportation of Italian genres around the turn of the eighteenth century.

This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

G. Dixon , ‘The Origins of the Roman “Colossal Baroque”’. Proceedings of the Royal Musical Association, 106 (1979–80)

J. Haar , ‘Classicism and Mannerism in 16th-Century Music’. International Review of Music Aesthetics and Sociology, 1 (1970)

J. W. Hill , ‘Oratory Music in Florence, i: Recitar cantando, 1583–1655’. Acta musicologica, 51 (1979)

J. H. Moore , ‘The Vespero delli Cinque Laudate and the Role of Salmi spezzati at St. Mark’s’. Journal of the American Musicological Society, 34 (1981)

A. Silbiger Music and the Crisis of Seventeenth-Century Europe’. In V. Coelho (ed.), Music and Science in the Age of Galileo. Dordrecht, 1992

L. Bianconi , Music in the Seventeenth Century, trans. D. Bryant . Cambridge, 1987

H. M. Brown , ‘How Opera Began: an Introduction to Peri’s Euridice (1600)’. In E. Cochrane (ed.), The Late Italian Renaissance, 1525–1630. London, 1970 ; reprinted in E. Rosand (ed.), Garland Library of the History of Western Music, v. New York, 1985

T. Carter , ‘Lamenting Ariadne?Early Music, 27 (1999)

T. Carter , ‘The North Italian Courts’. In Price (ed.), The Early Baroque Era

B. Gordon , ‘Talking Back: the Female Voice in Il ballo delle ingrate ’. Cambridge Opera Journal, 11 (1999)

B. R. Hanning , ‘Glorious Apollo: Poetic and Political Themes in the First Opera’. Renaissance Quarterly, 32 (1979)

J. B. Hansen , ‘From Invention to Interpretation: the Prologues of the First Court Operas; Where Oral and Written Cultures Meet’. Journal of Musicology, 20 (2003)

K. Harness , ‘ La Flora and the End of Female Rule in Tuscany’. Journal of the American Musicological Society, 51 (1998)

R. Harris-Warrick , ‘Magnificence in Motion: Stage Musicians in Lully’s Ballets and Operas’. Cambridge Opera Journal, 6 (1994)

J. W. Hill , ‘Florence: Musical Spectacle and Drama, 1570–1650’. In Price (ed.), The Early Baroque Era

S. Leopold , ‘Rome: Sacred and Secular’. In Price (ed.), The Early Baroque Era

A. MacNeil , ‘Weeping at the Water’s Edge’. Early Music, 27 (1999)

C. Massip , ‘Paris, 1600–61’. In Price (ed.), The Early Baroque Era

M. Murata , ‘The Recitative Soliloquy’. Journal of the American Musicological Society, 32 (1979)

M. Ossi , ‘Claudio Monteverdi’s Ordine novo, bello e gustevole: the Canzonetta as Dramatic Module and Formal Archetype’. Journal of the American Musicological Society, 45 (1992)

N. Pirrotta , ‘Orchestra and Stage in Renaissance Intermedi and Early Opera’. In Pirrotta , Music and Culture in Italy from the Middle Ages to the Baroque: a Collection of Essays. Cambridge, MA, 1984

L. Rosow , ‘French Baroque Recitative as an Expression of Tragic Declamation’. Early Music, 11 (1983)

L. Bianconi , and T. Walker , ‘Production, Consumption and Political Function of Seventeenth-Century Opera’. Early Music History, 4 (1984)

A. Curtis , ‘ La Poppea impasticciata or, Who Wrote the Music to L’incoronazione (1643)?’. Journal of the American Musicological Society, 42 (1989)

G. Baker , ‘Music at Corpus Christi in Colonial Cuzco’. Early Music, 32 (2004)

D. Chakrabarty , ‘Postcoloniality and the Artifice of History: Who Speaks for “Indian” Pasts?’. Representations, 37 (1992)

J. Lindorff , ‘Missionaries, Keyboards and Musical Exchange in the Ming and Qing Courts’. Early Music, 32 (2004)

C. Russell , ‘Radical Innovations, Social Revolution, and the Baroque Guitar’. In Coelho (ed.), The Cambridge Companion to the Guitar

E. Panofsky , Galileo as a Critic of the Arts. The Hague, 1954

J. T. Cannon , and S. Dostrovsky , The Evolution of Dynamics: Vibration Theory from 1687 to 1742. New York, 1981

W. Heller , ‘Tacitus Incognito: Opera as History in L’incoronazione di Poppea ’. Journal of the American Musicological Society, 52 (1999)

M. Murata , ‘Why the First Opera Given in Paris Wasn’t Roman’, Cambridge Opera Journal, 7 (1995)

E. Rosand , ‘Music in the Myth of Venice’. Renaissance Quarterly, 30 (1977)

E. Corp , ‘The Exiled Court of James II and James III: a Centre of Italian Music in France, 1689–1712’. Journal of the Royal Musical Association, 120 (1995)

A. M. Cummings , ‘Toward an Interpretation of the Sixteenth-Century Motet’. Journal of the American Musicological Society, 34 (1981)

G. Dixon , ‘Lenten Devotions in Baroque Rome’. Musical Times, 124 (1983)

O. Dolskaya-Ackerly , ‘Vasilii Titov and the “Moscow” Baroque’. Journal of the Royal Musical Association, 118 (1993)

J. Roche , ‘ Musica diversa di Compietà: Compline and its Music in Seventeenth-Century Italy’. Proceedings of the Royal Musical Association, 109 (1982–3)

A. Schnoebelen , ‘Bologna, 1580–1700’. In C. Price (ed.), The Early Baroque Era: from the Late 16th Century to the 1660s, ‘Man and Music’, 3. Basingstoke and London, 1993

W. A. Broom , ‘Political Allegory in Alessandro Melani’s Oratorio Golia abbattuto ’. Journal of Musicological Research, 3 (1981)

J. Butt , Music Education and the Art of Performance in the German Baroque. Cambridge, 1994

R. R. Thompson , ‘Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View’. Music and Letters, 82 (2001)

G. Tomlinson , ‘Madrigal, Monody, and Monteverdi’s “via naturale alla immitatione”’. Journal of the American Musicological Society, 34 (1981)

H. M. Brown , ‘Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance’. Journal of the American Musicological Society, 35 (1982)

J. Butt , Playing with History: the Historical Approach to Musical Performance. Cambridge, 2002

A. J. Cascardi , The Subject of Modernity. Cambridge, 1992

W. Erauw , ‘Canon Formation: Some More Reflections on Lydia Goehr’s Imaginary Museum of Musical Works ’. Acta musicologica, 70 (1998)

L. Goehr , “‘On the Problems of Dating” or “Looking Backward and Forward with Strohm”’. In Talbot (ed.), The Musical Work

R. Strohm , ‘Looking Back at Ourselves: the Problem with the Musical Work-Concept’. In Talbot (ed.), The Musical Work

M. Talbot (ed.), The Musical Work: Reality or Invention?. Liverpool, 2000

H. White , “‘If it’s Baroque, Don’t Fix it”: Reflections on Lydia Goehr’s “Work-Concept” and the Historical Integrity of Musical Composition’. Acta musicologica, 69 (1997)

F. Hammond , Girolamo Frescobaldi. Cambridge, MA, 1983

T. Munch , Seventeenth-Century Europe. London, 1990

T. Munck , ‘Keeping up Appearances: Patronage of the Arts, City Prestige and Princely Power in North Germany and Denmark 1600–1670’. German History, 6 (1988)

S. Rose , ‘Mechanisms of the Music Trade in Central Germany 1600–1640’. Journal of the Royal Musical Association, 130 (2005)

S. Rose , ‘Music, Print and Presentation in Saxony during the Seventeenth Century’. German History, 23 (2005)

S. Rose , ‘Publication and the Anxiety of Judgement in German Musical Life of the Seventeenth Century’. Music & Letters, 85 (2004)

S. Saunders , ‘New Light on the Genesis of Monteverdi’s Eighth Book of Madrigals’. Music and Letters, 77 (1996)

T. Christensen (ed.), The Cambridge History of Western Music Theory. Cambridge, 2002

V. A. Coelho (ed.), Music and Science in the Age of Galileo. Dordrecht, 1992

H. F. Cohen , Quantifying Music: the Science of Music at the First Stage of the Scientific Revolution, 1580–1650. Dordrecht, 1984

P. Dear , ‘Marin Mersenne: Mechanics, Music and Harmony’. In Gozza (ed.), Number to Sound

S. Drake , ‘Music and Philosophy in Early Modern Science’. In Coelho (ed.), Music and Science in the Age of Galileo

P. Gouk , ‘The Role of Harmonics in the Scientific Revolution’. In Christensen (ed.), The Cambridge History of Western Music Theory

P. Gozza (ed.), Number to Sound: the Musical Way to the Scientific Revolution. Dordrecht, 2000

R. Katz , ‘Collective “Problem-Solving” in the History of Music: the Case of the Camerata’. Journal of the History of Ideas, 45 (1984)

T. J. Mathiesen , ‘Greek Music Theory’. In Christensen (ed.), The Cambridge History of Western Music Theory

L. E. Miller , ‘John Birchensha and the Early Royal Society: Grand Scales and Scientific Composition’. Journal of the Royal Musical Association, 115 (1990)

M. Calcagno , ‘“Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater’. Journal of the American Musicological Society, 55 (2002)

T. Carter , ‘“An air new and grateful to the ear”: the Concept of Aria in Late Renaissance and Early Baroque Italy’. Music Analysis, 12 (1993)

G. Chew , ‘The Perfections of Modern Music: Consecutive Fifths and Tonal Cohernce in Monteverdi’. Music Analysis, 8 (1989)

P. Fabbri , Monteverdi, trans. T. Carter . Cambridge, 1994

R. Freitas , ‘Singing and Playing: the Italian Cantata and the Rage for Wit’. Music and Letters, 82 (2001)

J. Haar , ‘A Sixteenth-Century Attempt at Music Criticism’. Journal of the American Musicological Society, 36 (1983)

J. Harper , ‘Frescobaldi’s Early Inganni and Their Background’. Proceedings of the Royal Musical Association, 105 (1978–9)

R. Jackson , ‘The Inganni and the Keyboard Music of Trabaci’. Journal of the American Musicological Society, 21 (1968)

J. H. Moore , ‘Venezia favorita da Maria: Music for the Madonna Nicopeia and Santa Maria della Salute’. Journal of the American Musicological Society, 37 (1984)

H. S. Powers , ‘Tonal Types and Model Categories in Renaissance Polyphony’. Journal of the American Musicological Society, 34 (1981)

M. Benoit , ‘Paris, 1661–87: the Age of Lully’. In Price (ed.), The Early Baroque Era

L. P. Austern , ‘“For Love’s a good musician”: Performance, Audition, and Erotic Disorders in Early Modern Europe’. Musical Quarterly, 82 (1998)

T. Carter , ‘Giulio Caccini’s Amarilli, mia bella: Some Questions (and a Few Answers)’. Journal of the Royal Musical Association, 113 (1988)

E. Doughtie (ed.), Lyrics from English Airs, 1596–1622. Cambridge, MA, 1970

S. Leopold , ‘Remigio Romano’s Collection of Lyrics’. Proceedings of the Royal Musical Association, 110 (1983–4)

M. Motley , Becoming a French Aristocrat: the Education of the Court Nobility, 1580–1715. Princeton, 1990

P. Walls , ‘London, 1603–49’. In C. Price (ed.), The Early Baroque Era: from the Late Sixteenth Century to the 1660s, ‘Man and Music’, 3. London, 1993

B. Brooks , ‘Etienne Nau, Breslau 114 and the Early Seventeenth-Century German Violin Fantasia’. Early Music, 32 (2004)

G. J. Buelow , ‘Protestant North Germany’. In Price (ed.), The Early Baroque Era

D. Fuller , ‘French Harpsichord Playing in the 17th Century – after Le Gallois ’. Early Music, 4 (1976)

M. Gillies , ‘A Conversation with Bartók: 1929’. Musical Times, 128 (1987)

D. Ledbetter , Harpsichord and Lute Music in 17th-Century France. Bloomington, 1987

C. Monson , ‘Elizabethan London’. In I. Fenlon (ed.), The Renaissance: from the 1470s to the End of the 16th Century, ‘Man and Music’, 2. Basingstoke and London, 1989

A. Silbiger , ‘Michelangelo Rossi and his Toccate e correnti ’. Journal of the American Musicological Society, 36 (1983)

A. Silbiger , ‘The Roman Frescobaldi Tradition: 1640–1670’. Journal of the American Musicological Society, 33 (1980)

C. Gianturco , ‘ Cantate spirituali e morali, with a Description of the Papal Sacred Cantata Tradition for Christmas 1676–1740’. Music & Letters, 73 (1992)

S. McClary , Conventional Wisdom: the Content of Musical Form. Berkeley and Los Angeles, 2000

H. E. Smither , ‘The Latin Dramatic Dialogue and the Nascent Oratorio’. Journal of the American Musicological Society, 20 (1967)

R. H. Tollefsen , ‘Jan Pietersz. Sweelinck: a Bio-Bibliography, 1604–1842’. Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 22 (1971)

G. Barnett , ‘Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century’. Journal of the American Musicological Society, 51 (1998)

S. Bonta , ‘The Uses of the Sonata da chiesa ’. Journal of the American Musicological Society, 22 (1969)

T. A. Collins , ‘“Reactions against the Virtuoso”: Instrumental Ornamentation Practice and the Stile moderno ’. International Review of the Aesthetics and Sociology of Music, 32 (2001)

V. Crowther , ‘A Case Study in the Power of the Purse: the Management of the Ducal Cappella in Modena in the Reign of Francesco II d’Este’. Journal of the Royal Musical Association, 115 (1990)

J. Daverio , ‘In Search of the Sonata da camera before Corelli’. Acta musicologica, 57 (1985)

O. Jander , ‘ Concerto grosso Instrumentation in Rome in the 1660’s and 1670’s’. Journal of the American Musicological Society, 21 (1968)

S. Mangsen , ‘The “Sonata da camera” before Corelli: a Renewed Search’. Music and Letters, 76 (1995)

J. A. Sadie , ‘Charpentier and the Early French Ensemble Sonata’. Early Music, 7 (1979)

E. Selfridge-Field , ‘Canzona and Sonata: Some Differences in Social Identity’. International Review of the Aesthetics and Sociology of Music, 9 (1978)

D. Stevens , ‘Seventeenth-Century Italian Instrumental Music in the Bodleian Library’. Acta musicologica, 26 (1954)

M. Talbot , ‘The Taiheg, the Pira and Other Curiosities of Benedetto Vinaccesi’s “Suonate da camera a tre”, Op. 1’. Music and Letters, 75 (1994)

M. Tilmouth , ‘James Sherard: an English Amateur Composer’. Music and Letters, 47 (1966)

J. Wendland , ‘“Madre non mi far Monaca”: the Biography of a Renaissance Folksong’. Acta musicologica, 48 (1976)


Full text views

Total number of HTML views: 0
Total number of PDF views: 1809 *
Loading metrics...

Book summary page views

Total views: 2103 *
Loading metrics...

* Views captured on Cambridge Core between September 2016 - 18th August 2017. This data will be updated every 24 hours.