The page numbers in Index represents the print page number and will differ with the eBook page numbers
Abell, John
accompaniment
Henstridge’s copies
keyboard notation
lute ayres
actors: choirboys
as intermediaries
memorization
Adriano in Syria (Metastasio)
Aguiari, Lucrezia
ahistorical categories
aides-mémoire
Albertus Magnus
Alcock, John Jr.
Alexander’s Feast (Handel)
“Alexis, Dear Alexis” (Blow)
amateur, concept of
men’s manuscripts
Amphion Anglicus (Blow)
“ancient music”
Andrews, Thomas
Anne, Princess
Anne, Queen
courtly modes of cultural production and
odes for
Pallas Athena compared with
panegyrics for in plays
subscription music and Britain’s Happiness
Anne Cromwell’s Virginal Book
Apology for Actors (Heywood)
apprenticeships
Aquaviva, Claudio
architecture
memory scheme/theater. See also spatial production
Arendt, Hannah
Ariès, Philippe
“Arise Ye Subterranean Winds” (Reggio)
ars memoriae (memory arts)
The Art of Singing (Reggio)
Articles of the Musical Society, in Oxford
Aspden, Suzanne
Attey, John
Aubrey, John
audience
coterie
for “Cries of London”
for Handel’s music
for lute music
memory and broadside ballads
for The Northern Lass
odes and
Opera House
for Udall’s plays
aural transmission
cognition and organizing systems
maps
memorized transcription
Austern, Linda
ayres. See Campion, Thomas; lute ayres
Ayres, To Sing and Play to the Lute (Corkine)
Babell, William
Bach, J. C.
background variation
Bailey, Candace
Baines, Thomas
Baldwin, Olive
ballad partners
ballad production
ballads: gender and
lute music. See also broadside ballads
ballet des nations
Ballet lutebook
Banister, Henrietta
Banister, John
“Barbadoes Gentleman” (Clarke)
Bargrave, Isaac
Bargrave, Robert
Barksdale, Clement
Barley, William
Barre, William Jr.
bass line (ground bass)
Batcheler, Daniel
Batchelor, Jenny
Bathe, William
Bell, William
Bendish, Thomas
Benedictine Convent at Brussels
Bevin, Edward
Bevin, Elway
Bianca (Taming of the Shrew)
biblical subject matter
binaries
Birch, Colonel
Birchensha, John
Blackfriars Theatre
Blackiston, Nathaniel
Blackwell Hall factors
Blow, John
“Alexis, Dear Alexis”
Amphion Anglicus
Bludworth, Thomas
“Blundrella: or, The Impertinent. A Tale” (Carey)
Blunt, Charles
Board, Margaret
Board lutebook
body as instrument
Bold, Jane (Mordaunt)
Bold, Richard
Bolt, John
Bononcini, Giovanni
A Book of Ayres (Rosseter)
Book of Common Prayer (1552)
The Bottle Companions
boundary crossing
“amateur” and “professional” musicians
broadsides mediate
commercial reading public
coteries and commercial reading public
“Cries of London”
drama and music
between faiths
gender and
Habermasian concepts
Handel, appropriation of
Lady’s Magazine
merchants and gentry
musicians and patronage
song performance
spiritual recreation and liturgy
Stuart era
theater as locus
transformative encounters. See also domestic sphere; public sphere; public/private distinctions
bourgeoisie
Bowman, Henry
Bownde, Nicholas
Boyce, William
Brathwaite, Richard
Bremner, Robert
Brett, Philip
Briefe Introduction to the Skill of Song (Bathe)
A Briefe Introductione to the True Art of Musicke (Bathe)
Britain’s Happiness (Motteux)
British Harpsichord Music, Vol. 2: History I (Harley)
Britton, Thomas
Broad, William
broadside ballads
commercial aspects
forms
as images
intertexuality
standardization
theater, interaction with
tune titles
as wall decorations
Titles:: The Poor Man’s Councellor
A Warning for Wives
Tunes:: “The Batchelors Fall”
“Bragandary” (“Monstrous Women”; “O Folly Desperate Folly”)
“Doctor Faustus”
“Fair Angel of England”
“Fortune My Foe”
“The Ladies Fall”
“The Poor Man’s Comfort”
“The Superanuated Maidens Comfort”. See also memory
Brokaw, Katherine Steele
Brome, Richard
musical spaces of
Works:: The Antipodes
A Jovial Crew. See also The Northern Lass (Brome)
Brookesby, Eleanor (Vaux)
Brown, John
Bryne, Albertus
Bucholz, R. O.
Bullokar, John
Burden, Michael
Burney, Charles
Burney, Fanny
Burney, Susan
Burrows, Donald
business. See merchants and businessmen
Butler, Charles
Butler, Charlotte
Butler, Judith
Byrd, William
patent for printing music
Works:: Cantiones sacrae
Gradualia I
Caccini, Giulio
Campelman, Charles
Campion, Edmund
Campion, Thomas
composer of lyrics and music
Latin poetry
Works:: Ad Thamesin
“Blame Not My Cheeks”
A Booke of Ayres
De puluerea conjuratione
Epigrammatum liber primus
Epigrammatum liber secundus
The Fourth Booke of Ayres
Fragmentum Umbrae
“A Hymne in Praise of Neptune”
“The Man of Life Upright”
Observations in the Art of English Poesie
Poemata
Songs of Mourning: Bewailing the Untimely Death of Prince Henry
Tho. Campiani Epigrammatum Libri II Umbra Elegiarum liber unus
“Thou Art Not Faire, for All Thy Red and White”
“Thrice Tosse These Oaken Ashes in the Ayre”
Two Bookes of Ayres
“What If a Day”
“When to Her Lute Corinna Sings”. See also lute ayres
Canguilhem, Philippe
Canterbury
Cantica Sacra (Lawes)
Cantiones sacrae (Byrd)
Capua, Rinaldo di
Carey, Henry
Caroline period
Carvajal, Luisa de
Cary, John
Cary, Richard
Castiglione, Baldassare
cathedral musicians
Catholicism/Catholic recusants
Office of the Dead
tropes of exile and captivity. See also education; Jesuits (Society of Jesus)
Cavendish, Margaret
Cavendish, Michael
Cecilian feast
Purcell’s odes
Chaderton, Laurence
Chan, Mary
Chapel Royal
Chappell, William
Charles I
Charles II
Charlston, Terence
Chichester Cathedral
“Chide the Drowsy Spring” (Eccles)
Chiesa Nuova
Children of the Chapel
Children of the Revells of the Queene
chirography
Choice Ayres, Songs and Dialogues
Choice Psalmes (Lawes)
choirboys/choir schools
actors
“Cries of London” and
decline in education
Christ Church
Cicero
Cieraad, Irene
Ciro Riconosciuto (Walsh)
The City Lady (Dilke)
Clarges, Louisa
Clarges, Thomas
Clark, Sandra
Clarke, Jeremiah
Classical thinkers
Clifford, Henry Lord
The Close Hypocrite Discovered (Delamain)
Cobbold, William
Cocchi, Gioacchino
Coke, Lady Mary
Coleman, Catherine
Coleman, Edward
“Collection of Rules in Musicke” (Taylor)
Collection of Songs with Symphonies and a Through Bass with Six Lessons for the Harpsichord (Turner)
collective memory
The Comical Hash (Cavendish)
commercial reading public
commonplace books
community
harmony and social concord
community of belief
Compendium of Practicall Musick (Simpson)
Complete English Tradesman (Defoe)
composers: copyright
famous composers/less-than-exciting keyboard music. See also individual composers
concerts
women as promoters
Congreve, William
Consort Songs (Brett)
continuo parts
Cooper, Barry
Coote, John
Coperario, Giovanni
Coprario, John
copyists
opera arias and
performing traditions captured by. See also Henstridge, Daniel
copyright
Corelli, Archangelo
Corkine, William
coronation services
Corporation of Musick (Westminster)
Corpus Christi Mass
Corri, Domenico
Cosway, Richard
coterie literary practice
“Could Man His Wish Obtain”
“Country Cries” (Dering)
courtly modes of cultural production
Cox, John
Craig-McFeely, Julia
Cranmer, Thomas
“Cries of London”
Aldhouse
Anon/Weelkes
audiences for
“Chandler insert”
Dering
Gibbons
Long Weelkes
medleys
modern performances
In nomine cantus firmus
polyphonic textures
Short Weelkes
Weelkes’s
“Winter Cries”
Cromwell, Oliver
Cromwell, Thomas
cultural memory
Cupids Muster (ballad)
Daborne, Robert
dance, gendered space and
Danyel, John
Danzi, Franziska
d’Arezzo, Guido
Dart, Thurston
D’Assigny, Marius
Davis, Walter R.
Davison, Francis
de Mare, Heidi
De Oratore (Cicero)
declamatory style
decorations, printed music as
defensive tropes
Defoe, Daniel
Dekker, Thomas
Delamain, Richard
Delaune family
Dering, Richard
descants
descriptive notation
devotional songs
Didone abbandonata (Metastasio)
Dieupart, Charles
Dilke, Thomas
domestic sociability
domestic sphere: Catholic liturgies in
definitions
keyboard music attributed to
musical identities and
professional/domestic division
public performance of
residential architecture
song performance reconfigures
state, analogy with
Dorset Garden Theatre
Dowland, John
book of 1597
education
professional aspirations
Works:: First Booke of Songes or Ayres
Lachrimae
A Musicall Banquet. Furnished with Varietie of Delicious Ayres
Varietie of Lute Lessons
Dowland, Robert
Draghi, Giovanni Battista
Draycott, Helen
Dubrow, Heather
Duncombe, Charles
Dunhill, Rosemary
Dunn, Leslie
D’Urfey, Thomas
“The Infant Blooming Spring”
The Kings Health
Mars Now Is Arming in Wit and Mirth: Or Pills to Purge Melancholy
The Old Mode and the New
Songs Compleat
Earle, Peter
Eccles, John
1704 collection of songs
“Chide the Drowsy Spring”
Hark How the Muses Call Aloud
“They Call and Bid the Spring Appear”
While Anna with Victorious Arms
Edgeworth, Elizabeth
Edict of Nantes
Edinburgh Musical Society
education
for Catholic children
choir schools
in Latin and music
music instruction, Catholic
women’s use of music for spiritual instruction and recreation
Edward VI
Eikon Basilike (Lawes)
Elegeia I (Fitz-Geffry)
Elizabeth I
Ellis, William
emblem books
English ayres. See Campion, Thomas
English Lute Manuscripts and Scribes 1530-1630 (Craig-McFeely)
Epicoene (Jonson)
Epigrammata (More)
Erismena (Cavalli)
ethnomusicology
Europe’s Revels for the Peace (Motteux)
Evans, Robert C.
Exeter House
Ezell, Margaret
fantasias
Farinel, Michael
“Farinel’s Grounds”
The Favourite Songs to Zanaida
The Favourite Songs
Fellowes, Edmund
Ferrar, Basil
Fides ex auditu (“faith by hearing”)
Filmer, Robert
Filmer family
The First Booke of Ayres (Attey)
The First Booke of Ayres (Morley)
The First Booke of Songes or Ayres (Jones)
The First Booke of Songes or Ayres (Dowland)
Fischlin, Daniel
Fitz-Geffry, Charles
Flackton collection
“Flat Pavan” (Johnson)
Fludd, Robert
Folger MS
folio books
Forcer, Francis
Ford, Robert
Ford, Thomas
Foucault, Michel
14. Ayres in Tabletorie to the Lute (Cavendish)
Fox Lane, Mrs.
Francis, Earl of Cumberland
Frederick, Prince of Wales
Freeman, Graham
Fretwork (recording)
friendships, musical. See also Locke, Matthew; Taylor, Silas (Domville)
Funde flores, thura crema (Hingeston)
Gabrielli, Caterina
Gandon, James
gardens
Garnet, Henry
Garnons, Roger
Gates, Bernard
Gattolini, Signor
Geminiani, Francesco
gender
“amateur” and “professional” musicians
categorization of “domestic” keyboard music
female body as instrument
hierarchy of difficulty
identity and
marginalization due to
music and space
musical identities and
patriarchal societal norms
silencing of women
song performance and
spatial considerations
vocal genres
voice as marker of location and identity
women as concert promoters. See also women
General History of Music (Burney)
General History of the Science and Practice of Music (Hawkins)
The Gentleman’s Journal
Gentleman’s Magazine
Gentlemen of the Musical Society
George I
George II
George of Denmark
Georgian view of music
Gerard, John
Giannina e Bernadoni (Cimarosa)
Giardini, Felice
Gibbons, Orlando
Gibbons, William
Gibson, Kirsten
Giulio Cesare (Handel)
Giulio Sabino (Sarti)
Globe Theatre
Glorious Revolution
Glushko, Robert J.
“Golden Grove” suite (Lawes)
Goldsmith, Oliver
Goodson, Anna
Goodson, Richard
Goodson, Richard Jr.
Gradualia I (Byrd)
Gray’s Inn
Grene, Sir William
Grymeston, Elizabeth (Bernye)
guided culture
Guidonian hand
Gunning, Peter
Gunpowder Plot
Hamilton, Newburgh
Hamlet (Shakespeare)
Handel, George Frideric
aristocracy, relations with
in Lady’s Magazine
oratorio
outdoor performances of
unpublished music obtained by music societies
Works:: Acis and Galatea
Alexander’s Feast
Esther
Giulio Cesare
Joshua
Messiah
Music for the Royal Fireworks
Rinaldo
“A Song Made to a Favourite Minuet in Rodelinda”
“A Song on the Victory Obtain’d Over the Rebels by His Royal Highness the Duke of Cumberland”
Handel’s Temple
Harding, Rosamund
Hardy, Sir William
Hare, John
Hare, Joseph
Hark How the Muses Call Aloud (Tate and Eccles)
Harley, Edward
Harley, John
harmony: matches meaning
polyphonic compositions
social concord signified by
harpsichord
Harris, James
Harris, Thomas
Hauser, Gerard
Hayes, William
Hayward, Charles
Heigham, Bedingfield Jr.
Heigham, Mary
Helier, Samuel
Henrietta Maria
Henry VIII
Henstridge, Daniel
autograph and partial autograph manuscripts
informal music making
Copies: “Could Man His Wish Obtain”
“Old Chiron Thus”
transcription of “Amanti fuggite”
“Why Is Your Faithful Slave Disdained”
Herbert, Sir Edward
Hereford
Hereford Independents
Herissone, Rebecca
Heywood, Thomas
“High State and Honours” (Abell)
Hill, Gregory
Hill, Richard
Hill, Thomas
Hilton, John
Hingeston, John
History of Gavel-Kind (King Vortinger)
Hogwood, Christopher
Holford, Richard
Holland, Abraham
Holman, Peter
Holmes, Mathew
Holt, Henry
Houblon, James Jr.
Houblon, Sarah
“How Bonny and Brisk” (Smith)
Howard, Alan
Howard, Anne
Hudson, Robert
humanist thinkers
Hunt, Arnold
Hutchinson, Archibald
identities, musical
Ignatius
image
Impostor Magnus (Taylor)
improvisation
keyboard music
lute music
In nomine cantus firmus
incipit
“The Infant Blooming Spring” (D’Urfey)
innovation
Interregnum
recreational psalm singing
Issipile (Metastasio)
Italian performers
J. C. Bach v. Longman and Lukey
Jacob, John
James I
James II
Jeffreys, George
Jeffreys, Jeffrey
Jeffreys, John
Jesuits (Society of Jesus)
aliases
household performances of festal liturgies
importance of education and music to
martyrdom. See also Catholicism; education
Jesus Psalter (Whitford)
Johnson, John
Jones, Robert
Jonson, Ben
Jordan, Abraham (father and son)
Kenny, Elizabeth
Kent, William
Kew garden
keyboard music, mid-seventeenth century
categorized as “domestic”
gendered hierarchy of difficulty
practical purposes
recreational women musicians
Selosse manuscript
sources
The Kings Health (D’Urfey)
King’s Men
King’s Private Musick
King’s Theatre
Kinsman, Rachel
Knepp, Elizabeth
Lachrimae (Dowland)
Lady’s Magazine; or Entertaining Companion for the Fair Sex
composers
emergence of
music inserts
“Music Master”
song texts
Lampert, Anna
Lampugnani, Giovanni Battista
Lanier, Nicholas
Lawes, Henry
Lawes, William
Le delizie dell’opere
Le nuove musiche (Caccini)
Le Texier, Antoine
Leech, Peter
L’Epine, Margherita de
Les Sacqueboutiers (recording)
Lethieullier, Christopher
Lethieullier, John (son)
Lethieullier, Sir John
Lethieullier, William
Levant Company
Leveridge, Richard
Ligny, Charles de
Lincoln’s Inn Fields
Lindley, David
Lingam, George
Linley, Elizabeth
Lipsedge, Karen
literacy
Little, Patrick
Little Trinity church (City of London)
Loades, David
Locke, Matthew
instrumental music
Taylor’s compositions attributed to
Taylor’s support of
Works:: Melothesia
“When Death Shall Part Us from These Kids”
locus (place)
Longman and Broderip
Loscocco, Paula
Love, Harold
“Love at First Sight” (Hudson)
Lowe, Edward
lute ayres: dedications
“Farewel Deare Loue”
folio books
introspection
move from private to public consumption
patrons
public songs
read without music. See also Campion, Thomas; lute music
lute culture
The Lute in Britain: A History of the Instrument and Its Music (Spring)
lute music
aurality, cognition, and organizing systems
Ballet lutebook
Board lutebook
Brogyntyn lutebook
concordances
French
improvised
Mynshall lutebook
pedagogy
sources in early Modern England
transmission in early modern England
versions
working methods. See also lute ayres; manuscripts
lute performance iconography
The Lutes Apology for Her Excellency (Mathew)
The Lying Lover (Steele)
Lynn, George
Lyra Britannica (Boyce)
Mace, Thomas
madrigals
“magazine music”. See also Lady’s Magazine; or Entertaining Companion for the Fair Sex
Mann, Horace
manuscripts
duodecimo format
“Mathew Holmes Lutebooks”
miscellanies
owned by merchants
pocket manuscripts
printed sources
scribal editions
sources for lute music
visuospatial cognition. See also keyboard music, mid-seventeenth century; lute music
Mara, Gertrud
Maravall, José Antonio
Marsh, Christopher
Mary I
Mary II
Mason, Ben
masques
Massey, Edward
material, the
material media
Mathew, Richard
“Mathew Holmes Lutebooks”
Matteis, Nicola
Maynard, John
Mazzio, Carla
Medici, Mattias de’
mementos
memoria (mental faculty)
memory
ars memoriae
audience and
auditory
collective
place and
transcription
visuospatial cognition. See also broadside ballads
memory theater
men’s manuscripts. See keyboard music, mid-seventeenth century
menuet chanté
mercantile gentry
Mercers Company
merchant, as term
merchants and businessmen
Bargrave
dissemination of continental music
Hill and Andrews
patronage
Sherman, Wheak and Pigott
Meres, Francis
Metastasio, Pietro
Micheli, Leopoldo de
Mico, Richard
Miller, Bonny
Milsom, John
Minear, Erin
Mingotti, Regina
minuets
Miscelanea (Grymeston)
miscellanies
Mnemonica (Willis)
mnemonics
modern scholarship
on keyboard music
merchants and businessmen neglected
Modyford, James
The Monthly Mask of Vocal Musick
monuments
More, Thomas
Morelli, Cesare
Morgan, Charles
Morgan, Thomas
Morley, Thomas
Morris, Claver
motets, Latin
Motteux, Peter
Mounson, John
Mounson, Thomas
Murphy, Estelle
music clubs
music meetings
Music Society (Oxford)
The Musical Companion of 1667
Musical Magazine
Musical Society
A Musicall Banquet. Furnished with Varietie of Delicious Ayres (Dowland)
A Musicall Dreame (Jones)
Musicke of Sundrie Kindes (Ford)
Musick’s Hand-maid
Musick’s Monument (Mace)
Mychelburnes, Laurence, Edward, and Thomas
The Myrtle (Hudson)
Napier, William
national identity
A New Booke of Tabliture (Barley)
The Noble Souldier (Rowley and Dekker)
non-Western musical cultures
North, Roger
The Northern Lass (Brome)
affinities between two Constances
“As I Was Gathering Aprill Flowers”
female singing body
gender and song performance
“Hee that marries a Scold”
“place” as term in
plot
popularity
publication in print
relocating song in
“Some Say My Love Is Butt a Man”
staging
notation
pitch and duration
“O cujus genio Romana Elegia debet”
Observations in the Art of English Poesie (Campion)
odes
commodified
for Queen Anne
Odes in Imitation of the Seaven Penitential Psalmes (Verstegan)
Office of the Dead
The Old Batchelor (Congreve)
“Old Chiron Thus” (Wise)
Old Jewry “Musick-Society”
The Old Mode and the New (D’Urfey)
“On Music” (Alcock)
opera arias
as affects
copyright
The Favourite Songs
London audiences
move from public to private
newness required
as objects
“ownership”
sources
suitcase arias
Opera House (London)
Ophelia (Hamlet)
oratorio
organ playing
organizing systems
organs
banned
portable
ornamentation: in memorized transcription
in Stuart-era odes
Orpheus Britannicus (Purcell)
Oswald, James
Othello (Shakespeare)
Paget, Thomas
Palladis Tamia, Wits Treasury (Meres)
panegyric mode
odes for Queen Anne
in plays
subscription music
Paraphrase on the Psalmes of David (Sandys)
parody
Parr, Catherine
Parrott, Andrew
Pasquini, Bernardo
Paston, Edward
Paston, Margaret (Berney)
pastoral sentiments
patriarchal societal norms
patronage
by merchants and businessmen
Paul V
Pavier, Thomas
pedagogy. See also education; memory
Pelling, John
penny sheets
Pepys, Samuel
on audience copying
Beauty returne (composition)
compositions
on Great Fire
Hill and
on Locke and Taylor
merchants and
Percy, Mary
permanence, musical
Persons, Robert
Petre, Catherine
Petrucci (publisher)
Philips, James
Philips, John
Philips, Katherine
Philips, Peter
“Phillis with Her Enchanting Voice” (Turner)
Phoebus, Monarch of the Skies (D. Purcell)
Pigott, Bartholomew
Pigott, Charles
Pigott, Francis
Pigott, George
Pigott, James
Pigott, John
Pigott family
Pinnock, Andrew
Pinto, David
pitch, spatial representation of
place, memory, music, and theater as. See also space
Placebo dilexi
“place-realism” vogue
A Plaine and Easie Introduction to Practicall Musicke (Morley)
plainsong
Playford, John
playhouse
plots
pocket manuscripts
Poetical Rapsody (Davison)
The Poor Mans Comfort (Daborne)
Porter, Walter
Poulton, Diana
prescriptive music writing
preservation
Preston, John
Price, Curtis
Price, Matthew
pricksong
printed music
ballad production
odes
opera arias
Ralph Roister Doister
songs from The Northern Lass
privacy. See also domestic sphere; public/private distinctions
professional/domestic division
Protestants
aurality, importance to
psalms
royalist use of
Psalterium Carolinum (Stanley)
public, as term
public sphere
concerts
courtly cultural production and
domestic performance of
odes and
opera arias and
singers and
public/private distinctions
broadside ballad and
Catholic recusants and
Handel’s music and
lute music and social hierarchy
magazines and
memory and
move from private to public consumption
professional/domestic division. See also amateur, concept of; domestic sphere; public sphere; spatial production
Purcell, Daniel
Purcell, Frances
Purcell, Henry
Dorset Garden Theatre and
Henstridge’s copies
Works:: Hail! Bright Cecilia
“Welcome to All the Pleasures”
Yorkshire Feast Song
Ralph Roister Doister (Udall)
audience
choirboy actors
funeral parody
multivalent performance context
music as unproductive
religious and musical pedagogy in
Ramsey, John
Randall, Elizabeth
Randall, William
Rauzzini, Venanzio
Raylton, William
recollection
Rees, Owen
Reggio, Pietro
“Arise Ye Subterranean Winds”
religion: 1552 prayer book
denominational hybridity
polyphonic compositions
repository
residences
Respublica (Udall)
Restoration
business community
“Revealing Their Hand: Lute Tablatures in Early Seventeenth-Century England” (Kenny)
Rinaldo (Handel)
Ritchie, Leslie
“Robert Filmer His Booke: of psalmes”
Roberts, Gabriel
Rogers, Benjamin
Rogers, John
“The Rolling Years” (Steele)
Rosseter, Philip
Rowley, Samuel
Royal Africa Company
Royal Exchange
Royal Magazine
royalism
motets, Latin
poetic
“psalmic poetic”
in Taylor’s texts
Rubinelli, Giovanni
“Rules of Composition” (Birchensha)
Russell, Elizabeth
Saint Peters Complaint (Southwell)
Salisbury Musical Society
salons
Sanders, Julie
Sanderson, John
Sandys, George
Sarti, Giuseppe
satire
scribal publication
Second Book of Ayres, and Dialogues (Lawes)
The Second Part of Musick’s Hand-maid (Goodson)
The Second Part of the Pleasant Musical Companion
Second Booke of Songs and Ayres (Jones)
Sedgwick, Obadiah
Sedley, Katherine
Seeger, Charles
Selosse, Antoine
sermons
Seymour, Jane
Shakespeare, William: Hamlet
Othello
Taming of the Shrew
The Tempest
Twelfth Night
Shay, Robert
Sheldon, Edward
Sheldon, Ralph
Sheppard, John
Sheridan, R. B.
Sherman, Rowland
Sherman, William
Simpson, Christopher
singers
ownership and
suitcase
“Sir John Harrington’s Poems, Written in the reign of Queen Elizabeth”
Siroe, re di Persia (Lampugnani)
Sketch of Spring-Gardens, Vaux-Hall (attr. Lockman)
Skillern and Goulding
Slaughter, Paris
Slaughter Galley
Smith, Bruce
Smith, Robert
social order
social sphere
sol-faing songs
Somerset, Edward
song
as marker of location and identity
melancholy, association with
as privileged mode of self-expression
social relationships constructed by. See also vocal music
“Song on Nelson’s Glorious Victory” (Hudson)
song performance
affective impact
cultural ambivalence about
elides boundaries
gender and
Songs Compleat (D’Urfey)
Songs for 12 & 3 Voyces (Bowman)
Songs for the Lute Viol and Voice (Danyel)
Songs of Mourning: Bewailing the Untimely Death of Prince Henry (Campion)
sound, space and
Southwell, Robert
space
location and type of music performed
misinterpretation of
sound, relationship with. See also place
spatial production
gendered function
house-state analogy
musical-spatial interplay
of Other
pitch and duration
visuospatial cognition. See also architecture
Spiritual Exercises (Ignatius)
Spring, Matthew
St. John’s College, Oxford
St. Omer school
St. Paul’s Cathedral
Stanley, Thomas
state
household compared with
Stationers’ Company
Steele, Richard
Steggle, Matthew
stile galant
stile nuovo
Storace v. Longman and Broderip
Stuart, Lady Arabella
Stuart era. See also Anne, Queen
subscription music
symbols
Tallis, Thomas
Taming of the Shrew (Shakespeare)
Taruskin, Richard
Tate, Nahum
taverns, inns, and alehouses
oratorios in
Taylor, John (shipbuilder)
Taylor, Silas (Domville)
aspirations undermined
as composer
as controversial figure
GB-Cfm Mu MS 163 (Cfm 163)
political identity
portrays music meetings as neutral
Works:: “Dominantur in Nos Servi”
Lamentations in works of
“Non habet Sion”
Psalm 96
Psalm 137
“Revertere O Sulammittis”
Song of Songs in works of
“Vox Dilecti Mei”
“When Stormes Arise” (Psalm 27)
Writings:: “Collection of Rules in Musicke”
Impostor Magnus
Taylor, Silvanus Sr.
Taylor, Sylvanus
“Tell the World Great Caesars Come” (Clarke)
Temperley, Nicholas
Tempest, Thomas
The Tempest (Shakespeare)
as ideological construct
illusions
as memory
as monument
panegyric music in plays
as place (locus)
post-play musical entertainments
privacy, production of
Queen Anne era
silent women, depictions of. See also memory
theatre, as term
Theatre Royal (Drury Lane)
theatrum
theatrum mundi
theorbo
theory
“They Call and Bid the Spring Appear” (Tate and Eccles)
Tho. Campiani Epigrammatum Libri II Umbra Elegiarum liber unus (Campion)
Thompson, Robert
thoroughbass technique
Thynne, Joan
“Thyrsis” (Hudson)
Timothean music
Topcliffe, Richard
Tory concert series
trading companies
transcription
bass part
memorized
ornamentation
pseudo-phonetic
Trevelyn, G. M.
Tribble, Evelyn
Tridentine decrees
Tudor era: audiences
courtly modes of cultural production
The Turkish Paradise or Vaux-Hall Gardens: Wrote at Vaux-Hall Last Summer (attr. Lockman)
Turner, Elizabeth
Turner, William
Twelfth Night (Shakespeare)
Twelfth Night 1603
The XII. Wonders of the World (Maynard)
Two Bookes of Ayres (Campion)
Tyers, Jonathan
Udall, Nicholas
Respublica
as spokesman for religion
as timeserver. See also Ralph Roister Doister
United Company
urban space
Urban VIII
Vanneschi, Francesco
Varietie of Lute Lessons (Dowland)
Vaux, Anne
Vaux, Elizabeth (Roper)
Vauxhall Gardens
Venetian opera
Verney, John
Verney, Ralph
Verstegan, Richard
vice characters
Vickery, Amanda
viols
virginals
visuality
Vivian, Percival
vocal music: political implications
recreational psalm singing. See also singers; song; song performance
voice: as marker of location and identity
materiality and
Vortiger, King
waits
Walker, Greg
Wallington, Benjamin
Walpole, Henry
Walpole, Michael
Walsh, John
War of the Spanish Succession
Ward, Mary
Ward’s Institute
Warlock, Peter
A Warning for Wives (broadside)
Watson, William
wax tablet metaphor
Weelkes, Thomas
Welcker, Peter
“Welcome to All the Pleasures” (Purcell)
Weldon, John
“The Welfare of All on Blest Anna Depends” (Weldon)
Wells music meetings
Wessell, Leonard
Westcott, Sebastian
Westminster Abbey
Westrup, Jack
“What If a Day” (Campion)
Wheak, Philip
“When Death Shall Part Us from These Kids” (Locke)
Whig concert series
While Anna with Victorious Arms (Eccles)
Whimzies: or, a New Cast of Characters (Brathwaite)
White, Bryan
White, Esther
White Webbs house
Whitford, Richard
Whole Booke of Psalmes (Sternhold and Hopkins)
Whole Psalmes in Foure Parts
Whythorne, Thomas
William and Mary
William III
William Raylton’s Virginal Book
Willis, Jonathan
“Willow Song” (Othello)
Wilson, John
Wilson, Thelma
Winchester College
Winn, James
Wise, Michael
Wiseman, Jane (Vaughan)
Wiseman, William
Wit and Mirth
Wombourne Wodehouse
women: female servants, music instruction for
Jesuits and
as musicians
silent, depictions of
Tridentine decrees
as tutors
use of music for spiritual instruction and recreation. See also gender
Wood, Anthony
Wood, Bruce
woodblock prints
Woolley, Andrew
Wotton, Henry
Wright and Wilkinson
Wriothesley, Charles
Yorkshire Feast Song (Purcell)
Young, William
Zanaida (Bach)
Zemira e Azore (Verazzi)