Early Music

Article	Citations
Convent connections: the musical networks of English convents in France, the exiled Stuart court and the Couperin family	1
Freynshe fare	1
Poor Clares, rich in music: unique polyphonic Benedicamus Domino settings from southern Polish convents in the late 13th and early 14th centuries	1
Editorial	1
New horizons for wind and brass	1
King George III and the ‘Smith Collection’ of Handel manuscripts	1
A Mysterious Harpsichord Anthology Published by Christophe Ballard: Pièces Choisies Pour le Clavecin de Différents Auteurs (1707)	1
Early keyboard carnival	1
‘JOY to great Caesar’: popular songs on Farinel’s Ground in late 17th-century England	1
Frescobaldi and friends	1
Patterns of devotion in Britain and Ireland	0
Coloured for sight and sound	0
A turning point for Telemann scholarship?	0
A musical farewell in bi-confessional early modern Austria	0
Bruce Wood (1945–2023)	0
Editorial	0
Clavichord, harpsichord, forte piano and organ	0
Editorial	0
Emperors, ambassadors and opera reviews in 17th-century Venice: an annotated libretto of Cesti’s L’Argia (1669)	0
Invigorating Baroque explorations	0
Abstracts	0
Orlando at play: the games of 
Il palazzo incantato (1642)	0
Singers on the streets	0
Editorial	0
Baroque musical offerings	0

Bach returns to Cambridge	0
Musical instruments in the Venetian home: contextualizing Marietta Robusti’s self-portrait	0
Lavish sounds of early modern Italy	0
Instrumental sounds of the 18th century	0
Benedicamus Domino: delight in singing praise to God at Las Huelgas of Burgos	0
Modern early music	0
Correction to: Bach returns to Cambridge	0
The migration and transformation of the oud	0
Choirs, flutes and lutes	0
Birmingham Baroque bonanza	0
‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes	0
A phylogenetic analysis of two preludes from 
J. S. Bach’s Well-Tempered Clavier II	0
Unmeasured preludes for the French Baroque guitar	0
Salzburg before Mozart	0
Fifteenth- and sixteenth-century music notations	0
Editorial	0
Neapolitan virtuosity	0
Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia	0
What did Couperin learn from Charpentier?	0
Very early music in Early Music	0
The Wartburg gittern: new insights	0
Editorial	0
Rediscovered polyphony from Tudor Ireland: the Gloria Amice Christi Johannes	0
Byrd facsimiles	0
Shifting soundscapes: place, practice and performance	0
New light on the 17th-century English cathedral wind band: a (fragmentary) Canterbury tale	0
Abstracts	0
Restoring the English March: interpreting 17th- and 18th-century drum music	0
Italian practices in German lute tablature 
manuscripts, c.1500: practical script appearance	0
Sacred music from within and beyond the liturgy	0
Music and love in Sigismondo Fanti’s Triompho di Fortuna (1527)	0
The two troublesome texts of Jacquet de La Guerre’s Raccommodement comique	0
Echoes behaving badly? Rhetorical and acoustic experimentalism in the echo fantasias of Jan Pieterszoon Sweelinck and his contemporaries	0
Restoration to Baroque	0
Abstracts	0
Meetings with an ‘interesting relic’: early encounters with the Sadler partbooks	0
Violin-making in Rome, 1700−1830: new archival investigations	0
The social context of the hurdy-gurdy in England, 1700–1900	0
Old music, new titillations	0
French flute innovations	0
François Couperin’s advice on the suspension and playing with strings	0
Locating 18th-century music	0
The guitar in imperial Rio de Janeiro: 
a fashion among the elite	0
Motets under the microscope	0
Editors’ note: ‘A response to Joshua Rifkin (“Singing nuns? More on the story of Verona 761”)’	0
Music in Baroque Rome, Part 2: the late seicento	0
Northern souls	0
A student guide to medieval song	0
Furor teutonicus	0
The Nevell manuscript: new evidence of 17th-century gentlewomen’s music book-sharing and education at exiled English convents	0

Abstracts	0
On the trail of the Willmott and Braikenridge manuscripts	0
The municipal company of musicians of Medina del Campo, 1566–1598	0
Female-voice song before 1500	0
A Lullian divertissement for King William III at Kensington in 1698	0
Celestial music: astrology and instrumental affect in Der Natur Banquet (Wolfenbüttel, 1654)	0
A musical amuse-Buch	0
Nec doctum satis: humanist translation and English recreational song	0
Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music	0
Music markets in Georgian Britain	0
Francesco Ballerini’s opera licence for Vienna	0
Editorial	0
Five Masses and a feast	0
More on the scoring of Josquin’s Huc me sydereo and the manuscript St Gallen 464	0
Beguiling transformations, from Bach and beyond	0
Biennial Baroque in Geneva	0
Music for voices in Baroque Rome, Part 1: the early seicento	0
The Fashioning of French Opera (1672–1791): Identity, Production, Networks	0
La femme entre deux draps : Couperin or Rameau?	0
Sound in time	0
Pantheon of plenty	0
Steffani’s Amor vien dal Destino: new answers to old questions	0
Arnaud du Sarrat and the international music trade in Halle and Leipzig c.1700	0
‘A knowledge easely taught, and quickly learned’: learning to sing in Byrd’s England	0
Remaking early music history	0
John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification	0
Matteo Ricci’s gravicembalo and manicordio : new discoveries and a reconsideration	0
Chamber music, birds and Bach	0
Singing nuns? More on the story of Verona 761	0
Medieval and Renaissance Music Conference in Munich	0
Catholic music in Protestant Strasbourg	0
Abstracts	0
The adaptability of the English ayre: secondary polyphonization techniques in Thomas Campion’s Two books of ayres	0
English thinking about music	0
Prosulas in theory and practice	0
An ingenious musical machine from the imagination of Leonardo da Vinci	0
Artificial neural networks and medieval music	0
Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)	0
Medieval and Renaissance Music Conference at 50	0
Lully’s music in northern Europe: evidence of early circulation in Swedish libraries	0
Poca robba, ma buona: the recorded legacy of ornamentation practice in 16th- and 17th-century music	0
Baroque operas from madness to enlightenment	0
Gerrit van Honthorst’s guitar: tracing 
the features of an instrument reappearing 
in the works of the Utrecht Caravaggist	0
Dominic Gwynn (1953–2024)	0
Miscellany on the London stage	0
The evolution of Early Music	0
Familiar and unfamiliar	0
Editorial	0
Sounding passions and therapeutic performance in Thomas Weelkes’s songs	0
‘Magnificence of promises’: novelty instruments in concert in Britain, c.1750–1800	0
Early Music and materiality—2	0
Faburden and fauxbourdon in the 15th-century carol	0
From Bach to Mendelssohn	0
Restoring the creative contributions of Henry Hall	0
Early music in Newcastle and Durham	0
Performing medieval narrative and song	0
The Armide pattern in the music of François Couperin	0
An addition to the Couperin iconography	0
Editorial	0
An alluring sight of music: the musical ‘courtesan’ in the Cinquecento	0
German keyboard music from Praetorius to Haydn	0
Med-Ren Granada 2024	0
Recataloguing Bach	0
Hidalgo’s golden age in sound: Hispanic songs on recordings since 1966	0
Tracing Obrecht’s musical career	0
Arabic music found in translation	0
Music and Shakespeare	0
‘The most principall and chiefest kind of musicke’	0
Editorial	0
Relics of 13th-century Paris	0
Educated guesswork and Obrecht’s Scaramella	0
Early musicking in its own words and images	0
A sacred argument?	0
Variations of Druid tunes: Matthew Dubourg as song collector	0
Preludes to friendship: improvisatory instrumental souvenirs in 19th-century autograph albums	0
Aspects of early English music	0
Abstracts	0
Editorial	0
Adapting Lully for the London stage: reading a chaconne of 1698	0
Lustrous songs and delicate dances	0

Correspondence	0
Domestic devotions	0
Dido Compar’d	0
Aesthetic expression an das Clavier: performing character in the keyboard music of C. P. E. Bach	0
Early Music and materiality—1	0
‘Triumph, victorious Love’: Le Triomphe de l’Amour (1681) and English dramatic opera	0
Abstracts	0
A new perspective on opera’s ‘critical decade’ in London	0
Abstract	0
The Chevalier de Quincy: an officer and his musical passe-partout	0
Elegant anthems by Thomas Tallis	0
Ubiquitous music in Newcastle	0
Listening to the flute	0
Hildegard’s Gesamtkunstwerk	0
Dido restor’d	0
Austro-German music from Pisendel to Schubert	0
A response to Joshua Rifkin (‘Singing nuns? More on the story of Verona 761’)	0
Capricious songs and dances from early modern Europe	0
Editorial	0
John Sheppard and the Ewens: a closer look	0
Medieval musical sources	0
Benedicamus Domino tropes in the monastery of Benedictine nuns at St George’s, Prague	0
Mysticism in Jewish and Christian literature	0
Encoding and publishing critical editions of medieval music with MedMel (with a special focus on Romance-language lyrics)	0
Cryptic tenors	0
Rediscovering Arnold Dolmetsch: going back to the sources of the early music revival	0
Threads of Renaissance gold	0
English minstrelsy	0
Romanizing Chinese: word–tone relations in Athanasius Kircher’s China illustrata	0
Monuments and treasure chests	0
The chordal continuo in French Baroque opera: revisiting the evidence	0
La Couperinéité , or: what makes Couperin Couperin?	0
Eighteenth-century music from Albinoni to Zyka	0
Abstracts	0
‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series	0
‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings	0
Discovering the Georgian lute	0
Captain Henry Cooke in Oxford	0
Sonological and phonetic analysis of the performance practice of Hispanic chant in San Pedro de la Nave (7th–10th centuries, El Campillo, Zamora)	0
German sacred music, Catholic and Protestant	0
Music, Books and Theatre in Eighteenth-Century Exton: A Context for Handel’s ‘Comus’.	0
The wreck of the Gloucester revisited	0
Abstracts	0
Bach at the organ	0
Cultural meaning in opera	0
Joseph Joachim’s first Beethoven cadenza rediscovered	0
Byrd 400 festival	0
Letters for the biography of Alessandro Scarlatti	0
Terence Best (1929–2024)	0
Abstracts	0
Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)	0
The Earl of Manchester and opera in London	0
Instrumental forces	0
Musical sources: 70 years of RISM	0
Baroque connections	0
Restoring Obrecht’s Missa Scaramella	0
The first Chinese music heard in Europe: instruments and musicians in the study of Chinese music in Europe during the long 18th century	0
Music in 18th-century Britain	0
Repopularizing ‘popular opera’	0
William Byrd’s Come, woeful Orpheus in context: motion as visual and musical affect	0
Paradise lost	0
Recordings for all seasons	0
Rethinking ancient music interpretation through Hurrian Hymn H6 : a tablaturization	0
Eton and Lambeth choirbooks	0
Solfèges à deux voix égales: notes on a Rousseau manuscript	0
Editorial	0
Embodying Englishness: Alfred Deller, Purcell and the BBC in post-war England	0
Bridging literati and artist traditions: the qin daizhao in Han and Tang China	0
Spatial positioning in English vocal chamber music, c.1560–1636	0
Musical culture in early modern Ferrara	0
Musical life and civic identity in Renaissance France	0
Music on Shakespeare’s stage	0
Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna	0
Visualizing music in Italy	0
21st-Century Bach at Amherst	0
A clear catalogue for Mozart	0
Abstracts	0
Music grotesque and sublime	0
Music, gender and the erotic in Italian visual culture of the 16th century: introduction	0
15th-Century masses and songs	0
Benedicamus Domino tropes in the Birgittine Order: embellishing everyday liturgy	0
Singing at the piano with Hélène de Montgeroult	0
Will wonders never cease? The viola bastarda at the Ferrarese court	0
Introducing theorist Johannes Pipardi	0
Did Alexander Utendal really compose the motet Angelus Domini a23 in A-Wn, HAN Cod. 9814?	0
Christopher Tye and the Tye family of Colchester in the 16th century	0
1000 years of music in China	0
Transcending the body: music, chastity and ecstasy in Reni’s St Cecilia playing the violin	0
The Spanish Golden Age and beyond	0
Experience, emotion and sound in a medieval mainstream: recording the trouvères	0
Performer, composer and impresario: Thomas Vincent Jr. (c.1723–1798) and the oboe in London, 1748–1768	0
When the CD was king: reminiscences of a Reviews Editor	0
Correspondence	0
True Orpheus of the city of Rome	0
The sources and the legacy of Purcell’s Ayres for the Theatre	0