Early Music

Article	Citations
‘JOY to great Caesar’: popular songs on Farinel’s Ground in late 17th-century England	2
Three centuries of the guitar in England	2
François de Fossa, Louis Picquot and the transmission of Luigi Boccherini’s guitar quintets	2
Frescobaldi and friends	2
Freynshe fare	1
New horizons for wind and brass	1
Editorial	1
Poor Clares, rich in music: unique polyphonic Benedicamus Domino settings from southern Polish convents in the late 13th and early 14th centuries	1
Early keyboard carnival	1
Swete soundynge Lutes and most pleasant Ditties	1
King George III and the ‘Smith Collection’ of Handel manuscripts	1
Reassessing the development of cori spezzati: new discoveries in Bologna	1
Abstracts	1
Romanizing Chinese: word–tone relations in Athanasius Kircher’s China illustrata	0
Mourning sickness: the musical birth of ‘Barbara Allen’	0
Biennial Baroque in Geneva	0
A response to Joshua Rifkin (‘Singing nuns? More on the story of Verona 761’)	0
Preludes to friendship: improvisatory instrumental souvenirs in 19th-century autograph albums	0
Northern souls	0
On the trail of the Willmott and Braikenridge manuscripts	0
Motet cycles between devotion and liturgy	0
Editorial	0
Capricious songs and dances from early modern Europe	0
Medieval and Renaissance Music Conference in Munich	0
Abstracts	0

Female-voice song before 1500	0
Aesthetic expression an das Clavier: performing character in the keyboard music of C. P. E. Bach	0
‘A knowledge easely taught, and quickly learned’: learning to sing in Byrd’s England	0
Abstracts	0
Lustrous songs and delicate dances	0
Music markets in Georgian Britain	0
Did Alexander Utendal really compose the motet Angelus Domini a23 in A-Wn, HAN Cod. 9814?	0
Editorial	0
Abstracts	0
Clavichord, harpsichord, forte piano and organ	0
Fiddlesticks: two bows from the Mary Rose	0
O splendor gloriae: Taverner or Tye?	0
Music on Shakespeare’s stage	0
Editorial	0
Editorial	0
Emperors, ambassadors and opera reviews in 17th-century Venice: an annotated libretto of Cesti’s L’Argia (1669)	0
Music, Books and Theatre in Eighteenth-Century Exton: A Context for Handel’s ‘Comus’.	0
Bach returns to Cambridge	0
Lost in translation? Tracing Lullian tunes in Edward Ravenscroft’s The Citizen Turn’d Gentleman (1672)	0
‘Magnificence of promises’: novelty instruments in concert in Britain, c.1750–1800	0
Sound in time	0
Threads of Renaissance gold	0
Medieval and Renaissance Music Conference at 50	0
Editorial	0
German keyboard music from Praetorius to Haydn	0
Byrd 400 festival	0
Performing medieval narrative and song	0
Monuments and treasure chests	0
The adaptability of the English ayre: secondary polyphonization techniques in Thomas Campion’s Two books of ayres	0
Queen Caroline, music and Handel revisited	0
Gerrit van Honthorst’s guitar: tracing 
the features of an instrument reappearing 
in the works of the Utrecht Caravaggist	0
Sounds powerful	0
‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings	0
New light on the 17th-century English cathedral wind band: a (fragmentary) Canterbury tale	0
Musical instruments in the Venetian home: contextualizing Marietta Robusti’s self-portrait	0
True Orpheus of the city of Rome	0
From Antico to Zipoli: Listening to three centuries of Italian keyboard music	0
Lute and theorbo toccatas of seicento Italy: the historical significance of a sidelined repertory	0
Violin-making in Rome, 1700−1830: new archival investigations	0
The wreck of the Gloucester revisited	0
German sacred music, Catholic and Protestant	0
Tracing Obrecht’s musical career	0
Sacred music from within and beyond the liturgy	0
An embarrassment of polyphonic riches	0
Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia	0
‘The most principall and chiefest kind of musicke’	0
Fifteenth- and sixteenth-century music notations	0
Mysticism in Jewish and Christian literature	0
Benedicamus Domino tropes in the monastery of Benedictine nuns at St George’s, Prague	0
Paradise lost	0

Captain Henry Cooke in Oxford	0
Music grotesque and sublime	0
Terence Best (1929–2024)	0
Eighteenth-century music from Albinoni to Zyka	0
Music for St Cecilia’s Day from Purcell to Handel	0
Editorial	0
A student guide to medieval song	0
Spatial dispositions in English instrumental consort music, c.1575–1650: a further examination	0
When the CD was king: reminiscences of a Reviews Editor	0
Recordings for all seasons	0
The evolution of Early Music	0
‘Your Muse Remains Forever’: memory and monumentality in Elizabethan manuscript partbooks	0
A French Baroque miscellany	0
‘Triumph, victorious Love’: Le Triomphe de l’Amour (1681) and English dramatic opera	0
The municipal company of musicians of Medina del Campo, 1566–1598	0
Steffani’s Amor vien dal Destino: new answers to old questions	0
Rethinking early music in a time of isolation	0
Early musicking in its own words and images	0
Musical life and civic identity in Renaissance France	0
Correspondence	0
A Lullian divertissement for King William III at Kensington in 1698	0
Bruce Wood (1945–2023)	0
Orlando at play: the games of 
Il palazzo incantato (1642)	0
Discerning Josquin	0
Adapting Lully for the London stage: reading a chaconne of 1698	0
Abstracts	0
Celestial music: astrology and instrumental affect in Der Natur Banquet (Wolfenbüttel, 1654)	0
A musical-visual frontier?	0
Elegant anthems by Thomas Tallis	0
Playing finger cymbals in the Roman Empire: an iconographic study	0
Abstracts	0
‘Ah Heav’n! What is’t I hear?’: Purcell on disc	0
Med-Ren Granada 2024	0
Rediscovering Arnold Dolmetsch: going back to the sources of the early music revival	0
Choirs, flutes and lutes	0
Whispers, worms, wildfire and wanderers	0
The organ in Jewish culture during the long Renaissance	0
Instrumental sounds of the 18th century	0
English minstrelsy	0
Ubiquitous music in Newcastle	0
Hidalgo’s golden age in sound: Hispanic songs on recordings since 1966	0
Italian practices in German lute tablature 
manuscripts, c.1500: practical script appearance	0
Josquin at 500	0
Leipzig after Bach	0
A phylogenetic analysis of two preludes from 
J. S. Bach’s Well-Tempered Clavier II	0
Learning from period pianos	0
John Sheppard and the Ewens: a closer look	0
Old music, new titillations	0
Restoring the English March: interpreting 17th- and 18th-century drum music	0
Unmeasured preludes for the French Baroque guitar	0
Byrd facsimiles	0
Against the odds: pandemic early choral music	0
French music reimagined	0
The Wartburg gittern: new insights	0
‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes	0
Italian Baroque instrumental music	0
Catholic Music in Protestant Strasbourg	0
Father Hermann Kniebandl (1679–1745), lutenist, composer and scribe from the Cistercian Abbey of Grüssau, Silesia	0
Invigorating Baroque explorations	0
‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series	0
Abstracts	0
Abstracts	0
Musical culture in early modern Ferrara	0
Birmingham Baroque Bonanza	0
William Byrd’s Come, woeful Orpheus in context: motion as visual and musical affect	0
Chamber music, birds and Bach	0
Inside—and outside—Illibata: composition, context and chronology in a famous Josquin motet	0
Abstracts	0
The Underworld of Orpheus’s music dramas	0
Newly discovered 14th-century polyphony in Oxford	0
Lully’s music in northern Europe: evidence of early circulation in Swedish libraries	0
Early Music and materiality—2	0
Restoration to Baroque	0
Baroque operas from madness to enlightenment	0
Handel’s harpsichords revisited Part II: Handel’s domestic harpsichords	0
Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)	0
Dido Compar’d	0
Familiar and unfamiliar	0
Relics of 13th-century Paris	0
Christopher Tye and the Tye family of Colchester in the 16th century	0

The Spanish Golden Age and beyond	0
Music and love in Sigismondo Fanti’s Triompho di Fortuna (1527)	0
Nec doctum satis: humanist translation and English recreational song	0
Experience, emotion and sound in a medieval mainstream: recording the trouvères	0
Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna	0
Tallis and Byrd’s Cantiones Sacrae (1575): a sacred argument	0
Hildegard’s Gesamtkunstwerk	0
Singing at the piano with Hélène de Montgeroult	0
Repopularizing ‘popular opera’	0
Abstract	0
An alluring sight of music: the musical ‘courtesan’ in the Cinquecento	0
Editorial	0
The Chevalier de Quincy: an officer and his musical passe-partout	0
Furor teutonicus	0
Transcending the body: music, chastity and ecstasy in Reni’s St Cecilia playing the violin	0
Early Music and materiality—1	0
Editorial	0
The guitar in imperial Rio de Janeiro: 
a fashion among the elite	0
Mozart Englished	0
Editors’ note: ‘A response to Joshua Rifkin (“Singing nuns? More on the story of Verona 761”)’	0
Will wonders never cease? The viola bastarda at the Ferrarese court	0
Aspects of early English music	0
Arnaud du Sarrat and the international music trade in Halle and Leipzig c.1700	0
A new perspective on opera’s ‘critical decade’ in London	0
New interpretations of Paganini, Schubert, Schumann and Brahms	0
Benedicamus Domino tropes in the Birgittine Order: embellishing everyday liturgy	0
The social context of the hurdy-gurdy in England, 1700–1900	0
A clear catalogue for Mozart	0
Artificial neural networks and medieval music	0
Correspondence	0
Listening to the flute	0
A musical amuse-Buch	0
John Byrt (1940–2021)	0
The Josquin canon at 500	0
Editorial	0
Music, liturgy and confraternities	0
Byrd’s Fragments	0
Singers on the streets	0
Abstracts	0
Dido restor’d	0
The Fashioning of French Opera (1672–1791): Identity, Production, Networks	0
Remaking early music history	0
Who sang Hamor in Handel’s Jephtha?	0
Benedicamus Domino: delight in singing praise to God at Las Huelgas of Burgos	0
Fundamental and ornamental: historical harps in Europe	0
John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification	0
Music for keyboard and consort	0
Echoes behaving badly? Rhetorical and acoustic experimentalism in the echo fantasias of Jan Pieterszoon Sweelinck and his contemporaries	0
Against the odds: pandemic early choral music	0
Virtual Baroque in Birmingham	0
Miscellany on the London stage	0
The Earl of Manchester and opera in London	0
Handel’s singers from the London choirs	0
Baroque musical offerings	0
Editorial	0
Raphael’s ‘imperfect’ viol: a question of perspective	0
Guadagni in Handel’s London: the formation of a voice	0
English thinking about music	0
Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna	0
Music, gender and the erotic in Italian visual culture of the 16th century: introduction	0
Correction to: Bach returns to Cambridge	0
Musical sources: 70 years of RISM	0
A proper farewell to Beethoven’s 250th; balm for the dispirited listener’s soul	0
Melismas in the Speculum musicae	0
The 17th-century dramatic voice, sacred and secular	0
Very early music in Early Music	0
Francesco Ballerini’s opera licence for Vienna	0
Prosulas in theory and practice	0
Abstracts	0
Abstracts	0
Sounding passions and therapeutic performance in Thomas Weelkes’s songs	0
On screen and stage: a performer’s perspective on life in early music, 2020–21	0
Frescobaldi at the Ospedale di Santo Spirito: a portfolio career in 17th-century Rome	0
The Motet Cycles Database and Gaffurius Codices Online	0
Sounds of Power	0
Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music	0
French flute innovations	0
Bach for harpsichord, piano and harp	0
Restoring Obrecht’s Missa Scaramella	0
Five Masses and a feast	0
Cryptic tenors	0
Bach’s keyboard concertos on harpsichord and piano	0
Music and national identity in early modern Rome	0
The ‘war of images’ between Louis XIV and Leopold I: Jean-Baptiste Lully’s music and Il pomo d’oro in Vienna in 1667	0
Beguiling transformations, from Bach and beyond	0
Josquin at 500	0
Recataloguing Bach	0
Jakob Adlung’s ‘Anweisung zum Fantasiren’ (c.1725–7): edition, translation and introduction	0
Patterns of devotion in Britain and Ireland	0
Handel’s harpsichords revisited Part I: Handel and Ruckers harpsichords	0
Poca robba, ma buona: the recorded legacy of ornamentation practice in 16th- and 17th-century music	0
A musical farewell in bi-confessional early modern Austria	0
The Nevell manuscript: new evidence of 17th-century gentlewomen’s music book-sharing and education at exiled English convents	0
Violin technique and the contrapuntal imagination in 17th-century German lands	0
A forgotten pioneer: Eugene Marteney and the American renaissance of hautboy-making, 1962–1969	0