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St George's Chapel in Windsor Castle is one of the most famous buildings in the World, the venue for national pageant and ceremony since the Middle Ages. Created to be the architectural back-drop for the activities of the Order of the Garter, the pre-eminent chivalric order of medieval England, in modern times the chapel has become one of the country's premier tourist destinations. The stained glass of the chapel, dating from the early 16th century to the later 20th century, is one of its least familiar treasures. The chapel has always been served by the leading artist and craftsmen of the day and in designing for this most distinguished location, successive generations of glaziers have excelled themselves in the quality of their work. In this volume the history of the chapel's stained glass is explored by a team of distinguished stained glass historians and heraldic scholars for the first time, revealing a microcosm of English stained glass design across the centuries.
John Merbecke (c.1505-c.1585) is most famous as the composer of the first musical setting of the English liturgy, The Booke of Common Praier Noted (BCPN), published in 1550. Not only was Merbecke a pioneer in setting English prose to music but also the compiler of the first Concordance of the whole English Bible (1550) and of the first English encyclopaedia of biblical and theological studies, A Booke of Notes and Common Places (1581). By situating Merbecke and his work within a broader intellectual and religio-cultural context of Tudor England, this book challenges the existing studies of Merbecke based on the narrow theological approach to the Reformation. Furthermore, it suggests a re-thinking of the prevailing interpretative framework of Reformation musical history. On the basis of the new contextual study of Merbecke, this book seeks to re-interpret his work, particularly BCPN, in the light of humanist rhetoric. It sees Merbecke as embodying the ideal of the 'Christian-musical orator', demonstrating that BCPN is an Anglican epitome of the Erasmian synthesis of eloquence, theology and music. The book thus depicts Merbecke as a humanist reformer, through re-evaluation of his contributions to the developments of vernacular music and literature in early modern England. As such it will be of interest, not only to church musicians, but also to historians of the Reformation and students of wider Tudor culture.
Few details are known about the life of Henry Purcell. This book provides an in-depth analysis of the most obvious documentary evidence of Purcell's career - the music manuscripts of his own hand and those copied by his colleagues. Robert Shay and Robert Thompson offer a richly illustrated study of Purcell's sources, examining in detail the physical features of the manuscripts as well as their musical content. Their survey sheds light on the chronology of composition and copying of Purcell's works and reassesses the place of extant autographs in his musical development. Major sources are fully catalogued, providing information about the context in which Purcell's music was collected and performed, and his handwriting is more closely examined than ever before. The book represents a significant reference tool for scholars, applying a forensic approach that greatly enriches our knowledge of the composer and the music of his time.
Since it was first published in 1982 British Archives has established itself as the premier reference work to holdings of archives and manuscript collections throughout the UK. The 3rd edition has been extensively revised and enlarged with more than 150 new entries, further widening the range of the book. Entries are structured to show the archives of the organisation as distinct from deposited collections and significant non-manuscript material, and additional details of fax number and conservation provision are included for the first time. All the existing entries have been significantly updated, together with the select bibliography and list of useful addresses of various organisations involved in the care and custody of archives. The introduction provides an invaluable guide to researchers using archives, including a summary of the relevant legislation and a detailed description of the usual holdings of county and other local authority record offices.
A definitive look at the early history of St George's Chapel, one of the most important medieval buildings in England. Developed and improved by Edward III, the Chapel became the spiritual home of his newly-instigated Order of theGarter and, in the process, a new Camelot for the English monarchy. St George's Chapel, Windsor, is one of the most famous ecclesiastical foundations in Britain. Established in 1348, its origins are closely bound up with those of the Order of the Garter, which was founded by Edward III at the sametime. The collection of essays in this volume sets Windsor in its context, at the forefront of the political and cultural developments of mid-fourteenth-century England. They examine the early history of the Chapel, its tieswith Edward III's chivalric ambitions, the community of canons who served it, and its place in the institutional development of the English Church. Major themes are the role of the Chapel in the early history of the Order and itsinfluence on other collegiate foundations of the late middle ages; and much attention is devoted to the mighty building campaign at the Castle started by Edward III which made Windsor the grandest royal residence of its day.
Range presents an in-depth study of the music within the ceremonial at British coronations from 1603 to the present.
This book presents, for the first time, a history of English liturgical chant as performed in the Church of England and its transmission to churches in Scotland and the United States. In the mid-sixteenth century Reformation, the complex ritual of the Latin rite was replaced by a one-volumeBook of Common Prayer in English. The general nature of the new rubrics, expecially for music, left many of the details of performance to be worked out in traditional ways. Thus the music evolved from its Latin roots in oral, and later written practice. The body of music that makes up the chantingpractice of Anglican and related churches around the world is indeed diversified. Some texts of the liturgy are harmonized in four or more voice parts, often with organ accompaniment, and others are sung in plainsong. The largest group of chants, those for the psalms and canticles, has anidiosyncratic written form and a performance practice that continues to evolve in oral tradition. This music is commonly known as Anglican chant. Its origins in the seventeenth century and its codification in the eighteenth are explored in the choral establishments of the Church of England andparish churches in England, Scotland, and the United States.