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Bibliography of Secondary Sources

Modern editions of plays have mostly been omitted, although many contain useful prefatory material. Please see the notes in the relevant chapters.

Adair, E. R. “The Rough Copies of the Privy Council Register.” English Historical Review 38 (1923): 410–22.

Adams, Joseph Quincy, ed. The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623–1673. New Haven, CT: Yale University Press, 1917.

Adler, Doris. Philip Massinger. Boston: Twayne, 1987.

Anglo, Sydney. Spectacle, Pageantry, and Early Tudor Policy. Oxford: Oxford University Press, 1969.

———. “William Cornysh in a Play, Pageants, Prison, and Politics.” Review of English Studies 10 (1959): 347–60.

Ashbee, Andrew. “Groomed for Service: Musicians in the Privy Chamber at the English Court, c. 1495–1558.” Early Music 25 (1997): 185–90, 193–97.

———, ed. Records of English Court Music. Vol. 3 (1625–1649); Vol. 4 (1603–1625); Vol. 6 (1558–1603); Vol. 7 (1485–1558). Snodland: by the author, 1986–93.

Ashbee, Andrew, and David Lasocki. A Biographical Dictionary of English Court Musicians. 2 vols. Aldershot: Ashgate, 1998.

Astington, John H. English Court Theatre, 1558–1642. Cambridge: Cambridge University Press, 1999.

Austern, Linda Phyllis. “‘Art to Enchant’: Musical Magic and Its Practitioners in English Renaissance Drama.” Journal of the Royal Musical Association 115 (1990): 191–206.

———. “‘For Musicke is the Handmaid of the Lord’: Women, Psalms, and Domestic Music-Making in Early Modern England.” In Psalms in the Early Modern World, ed. Linda Phyllis Austern, Kari Boyd McBride, and David L. Orvis, 77–114. Farnham: Ashgate, 2013.

———. Music in English Children’s Drama of the Late Renaissance. Philadelphia: Gordon and Breach, 1992.

———. “Musical Parody in the Jacobean City Comedy.” Music & Letters 66 (1985): 355–66.

———. “Sweet Meats with Sour Sauce: The Genesis of Musical Irony in English Drama after 1600.” Journal of Musicology 4 (1986): 472–90.

Axton, Marie, ed. Three Tudor Classical Interludes. Cambridge: D. S. Brewer, 1982.

Bailey, Candace. “Blurring the Lines: ‘Elizabeth Rogers hir Virginall Book’ in Context.” Music & Letters 89 (2008): 510–46.

Barasch, Frances. “‘He’s for a Iigge, or a tale of Baudry’: Sixteenth-Century Images of the Stage-Jig.” Shakespeare Bulletin 13 (1995): 24–28.

Barroll, J. Leeds, Alexander Leggatt, Richard Hosley, and Alvin Kernan. The Revels History of Drama in English. Vol. 3 (1576–1613). London: Methuen, 1975.

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. Chicago: University of Chicago Press, 1929.

Bate, Jonathan. Shakespeare and Ovid. Oxford: Oxford University Press, 1993.

Bawcutt, N. W. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels, 1623–73. Oxford: Oxford University Press, 1996.

Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Oxford University Press, 1949–68.

Bernstein, Jane. “The Chanson in England 1530–1640: A Study of Sources and Styles.” Ph.D. diss., University of California at Berkeley, 1974.

Best, M. R. “A Note on the Songs in Lyly’s Plays.” Notes & Queries 210 (1965): 93–94.

Bevington, David. From Mankind to Marlowe: Growth of Structure in the Popular Drama of Tudor England. Cambridge, MA: Harvard University Press, 1962.

Blake, Ann. “‘The Humour of Children’: John Marston’s Plays in the Private Theatres.” Review of English Studies 38 (1987): 471–82.

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Brown, Arthur. “Sebastian Westcott at York.” Modern Language Review 47 (1952): 49–50.

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge, MA: Harvard University Press, 1963.

Buchanan, Roberta. Ars adulandi, or the Art of Flattery by Ulpian Fulwell. Salzburg: University of Salzburg, 1984.

Carpenter, Caroline. “Through a Masque Darkly: William Percy’s Necromantes and the Gunpowder Plot of 1605.” Ph.D. diss., Claremont Graduate School, 2015.

Carpenter, Nan Cooke. “Music in the Secunda Pastorum.” Speculum 26 (1951): 696–700.

———. “Skelton and Music: Roty bully joys.” Review of English Studies 6 (1955): 279–84.

———. “Skelton’s Hand in William Cornish’s Musical Parable.” Comparative Literature 22 (1970): 157–72.

Cathcart, Charles. “Sir Giles Goosecap, Knight: George Chapman; Poetaster; and the Children of the Chapel.” Medieval and Renaissance Drama in England 25 (2012): 42–61.

Chambers, E. K. The Elizabethan Stage. 3 vols. Oxford: Oxford University Press, 1923.

Chan, Mary. “Cynthia’s Revels and Music for a Choir School: Christ Church Manuscript Mus 439.” Studies in the Renaissance 18 (1971): 134–72.

———. “Drolls, Drolleries and Mid-Seventeenth-Century Dramatic Music in England.” Royal Musical Association Research Chronicle 15 (1979): 117–73.

———. Music in the Theatre of Ben Jonson. Oxford: Oxford University Press, 1980.

Chappell, William. The Ballad Literature and Popular Music of the Olden Time. London: Chappell, 1859.

———. Popular Music of the Olden Time. London: Chappell, 1855.

Child, Francis, ed. The English and Scottish Popular Ballads. Boston: Houghton, Mifflin, 1886.

Clark, Andrew. The Shirburn Ballads, 1585–1616. Oxford: Oxford University Press, 1907.

Clark, Sandra. “Cervantes’ ‘The Curious Impertinent’ in Some Jacobean Plays.” Bulletin of Hispanic Studies 79 (2002): 477–89.

Clegg, Roger, and Lucy Skeaping. Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage. Scripts, Music and Context. Exeter: University of Exeter Press, 2014.

Cohn, Albert. Shakespeare in Germany in the Sixteenth and Seventeenth Centuries: An Account of English Actors in Germany and the Netherlands, and of the Plays Performed by Them during the Same Period. London: Asher, 1865.

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Craik, T. W. “The True Source of John Heywood’s ‘Johan Johan’.” Modern Language Review 45 (1950): 289–95.

———. The Tudor Interlude: Stage, Costume, and Acting. Leicester: Leicester University Press, 1958.

Cutts, John P. “A Bodleian Song-Book: Don.C.57.” Music & Letters 34 (1953): 192–211.

———. “Drexel Manuscript 4041.” Musica Disciplina 18 (1964): 151–202.

———. La Musique de scène de la troupe de Shakespeare. 2nd ed. Paris: Éditions du Centre National de la Recherche Scientifique, 1971.

———. “Music and The Mad Lover.” Studies in the Renaissance 8 (1961): 236–48.

———. “The Original Music to Middleton’s The Witch.” Shakespeare Quarterly 7 (1956): 203–9.

———. “Peele’s Hunting of Cupid.” Studies in the Renaissance 5 (1958): 121–32.

———. “Robert Johnson: King’s Musician in His Majesty’s Public Entertainment.” Music & Letters 36 (1955): 110–25.

———. “Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b.1.” Musica Disciplina 10 (1956): 142–209.

———. “Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music Ms. Dc. 1. 69.” Musica Disciplina 13 (1959): 169–94.

———. “Songs Vnto the Violl and Lute”: Drexel Ms 4175.” Musica Disciplina 16 (1962): 73–92.

———. “Two Jacobean Theatre Songs.” Music & Letters 33 (1952): 333–34.

Dauney, William. Ancient Scottish Melodies. Edinburgh, 1838.

Deierkauf-Holsboer, S. Wilma. Le Théatre de L’Hôtel de Bourgogne, 1548–1635. Paris: A.-G. Nizet, 1968.

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Dodds, M. Hope. “Songs in Lyly’s Plays.” Times Literary Supplement, 28 June 1941, 311.

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Donaldson, Ian. Ben Jonson: A Life. Oxford: Oxford University Press, 2011.

Duckles, Vincent. “The Gamble Manuscript as a Source of ‘Continuo’ Song in England.” Journal of the American Musicological Society 1 (1948): 23–40.

——. “John Gamble’s Commonplace Book: A Critical Edition of NYPL Ms Drexel 4257.” Ph.D. diss., University of California, Berkeley, 1953.

———. “Music for the Lyrics in Early Seventeenth-Century English Drama: A Bibliography of the Primary Sources.” In Music in English Renaissance Drama, ed. John H. Long, 117–60. Lexington: University of Kentucky Press, 1968.

Duffin, Ross W. “Catching the Burthen: A New Round of Shakespearean Musical Hunting.” Studies in Music 19–20 (2000–2001): 1–15.

———. “‘Concolinel’: Moth’s Lost Song Recovered?” Shakespeare Quarterly 66 (2015): 89–94.

———. “International Influences and Tudor Music.” In The Blackwell Companion to Tudor Literature and Culture 1485–1603, ed. Kent Cartwright, 79–94. Oxford: Oxford University Press, 2010.

———. “Music and the Stage in the Time of Shakespeare.” In The Age of Shakespeare, ed. R. Malcolm Smuts, 748–63. Oxford: Oxford University Press, 2016.

———. “Princely Pastimes, or a Courtly Catch, being the History of Another Musical Fragment at Case Western Reserve University.” Music Library Association Notes 49 (1993): 911–24.

———. Shakespeare’s Songbook. New York: W. W. Norton, 2004.

———. The Music Treatises of Thomas Ravenscroft. Farnham: Ashgate, 2014.

———. “Thomas Morley, Robert Johnson, and Songs for the Shakespearean Stage.” In Research Companion to Shakespeare Music, ed. Christopher R. Wilson. Oxford: Oxford University Press, forthcoming.

———. “To Entertain a King: Music for James and Henry at the Merchant Taylors Feast of 1607.” Music & Letters 83 (2002): 525–41.

Dumitrescu, Theodor. The Early Tudor Court and International Musical Relations. Aldershot: Ashgate, 2007.

Dunn, T. A. Philip Massinger: The Man and the Playwright. London: University College of Ghana, 1957.

Dutka, JoAnna. Music in the English Mystery Plays. Kalamazoo, MI: Medieval Institute Publications, 1980.

EBBA: English Broadside Ballad Archive (University of California, Santa Barbara), online resource: http://ebba.english.ucsb.edu.

Eccles, Mark. “George Whetstone in Star Chamber.” Review of English Studies 33 (1982): 385–95.

———. “Martin Peerson and the Blackfriars.” Shakespeare Survey 11 (1958): 100–106.

———. “Mary Frith, the Roaring Girl.” Notes and Queries 32 (1985): 65–66.

———. “Thomas Middleton a Poett.” Studies in Philology 54 (1957): 516–36.

Edgerton, William L. Nicholas Udall. New York: Twayne, 1965.

EEBO: Early English Books Online (Chadwyck-Healey), online resource: http://eebo.chadwyck.com.

Edwards, Warwick. “The Sources of Elizabethan Consoert Music.” Ph.D. diss., Cambridge University, 1974.

Estill, Laura. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Newark: University of Delaware Press, 2015.

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Fallows, David. “English Song Repertories of the Mid-Fifteenth Century.” Proceedings of the Royal Musical Association 103 (1976): 61–79.

———. “The Gresley Dance Collection, c. 1500.” Royal Musical Association Research Chronicle 29 (1996): 1–20.

———. “Henry VIII as a Composer.” In Sundry Sorts of Music Books: Essays on the British Library Collections Presented to O. W. Neighbour on his 70th Birthday, ed. C. Banks, A. Searle, and M. Turner, 27–39. London: British Library, 1993.

———, ed. The Henry VIII Book. Oxford: Digital Image Archive of Medieval Music, 2014.

Fenn, Robert D. “William Percy’s Aphrodysial: An Old Spelling Edition.” M.A. thesis, University of Saskatchewan, Saskatoon, 1990.

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———, ed. Documents Relating to the Revels at Court in the Time of King Edward VI and Queen Mary. Louvain: A. Uystpruyst, 1914.

Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton, NJ: Princeton University Press, 1990.

——— “John Marston’s ‘Histrio-Mastix’ as an Inns of Court Play: A Hypothesis.” Huntington Library Quarterly 29 (1966): 223–34.

Flynn, Jane. “The Education of Choristers in England during the Sixteenth Century.” In English Choral Practice, 1400–1650, ed. John Morehen, 180–99. Cambridge: Cambridge University Press, 1995.

———. “Thomas Mulliner: An Apprentice of John Heywood?” In Young Choristers, 650–1700, ed. Susan Boynton and Eric Rice, 173–94. Woodbridge: Boydell, 2008.

Foakes, R. A. Henslowe’s Diary, 2nd ed. Cambridge: Cambridge University Press, 2002.

Fox, Adam. Oral and Literate Culture in England, 1500–1700. Oxford: Oxford University Press, 2000.

Fuller, David. “Ben Jonson’s Plays and Their Contemporary Music.” Music & Letters 58 (1977): 60–75.

Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553–1608. Cambridge: Cambridge University Press, 1982.

———. “Conditions of Appointment for Masters of Choristers at Paul’s (1553–1613).” Notes and Queries 27 (1980): 116–24.

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———. “Songs in Tudor Drama: Forms and Meaning.” Medieval English Theatre 16 (1994): 91–115.

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———. “Sam Wanamaker’s Inventions: Lessons from the New Globe.” In Shakespearean Performance: New Studies, ed. Frank Occhiogrosso, 110–26. Madison, NJ: Associated University Presses, 2008.

———. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.

———.The Shakespearian Playing Companies. Oxford: Oxford University Press, 1996.

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———. Song in Morality Plays and Interludes. Lancaster: University of Lancaster, 1991.

———. “Spectacle in Bale and Heywood.” Medieval English Theatre 16 (1994): 51–65.

———. “Theatricality in Classical Comedy and the English Interlude: Jack Juggler.” In European Medieval Drama 16 (2012): 99–113.

———. The Towneley Cycle: Unity and Diversity. Cardiff: University of Wales Press, 2007.

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———. “Henry VIII’s Book: Teaching Music to Royal Children.” Musical Quarterly 92 (2009): 118–35.

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———. “Unraveling Beaumont from Fletcher with Music, Misogyny, and Masque.” Studies in English Literature, 1500–1900 44 (2004): 379–404.

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——— “William Percy: An Elizabethan Amateur.” Huntington Library Quarterly 1 (1938): 391–416.

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———. “The Songs of the Public Theaters in the Time of Shakespeare.” Journal of English and Germanic Philology 28 (1929): 166–202.

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———. Minstrels Playing: Music in Early English Religious Drama 2. Cambridge: D. S. Brewer, 2001.

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———. “The Date, Authors, and Contents of A Handfull of Pleasant Delights.” Journal of English and Germanic Philology 18 (1919): 1–17.

———. “A Note on Richard Edwards.” Review of English Studies 4 (1928): 204–6.

———. “Notes on the ‘Shirburn Ballads’.” Journal of American Folklore 30 (1917): 370–77.

——— A Pepysian Garland: Black-letter Broadside Ballads of the Years 1596–1639. Cambridge: Cambridge University Press, 1922.

———. “A ‘Recovered’ Elizabethan Ballad.” Review of English Studies 3 (1927): 335–37.

———. “William Elderton: Elizabethan Actor and Ballad-Writer.” Studies in Philology 17 (1920): 199–245.

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———. “A Three-Man Song in Fulwell’s Like Will to Like at the Folger,” Renaissance News 10 (1957): 139–42.

———. “Ravenscroft’s ‘Melismata’ and the Children of Paul’s.” Renaissance News 12 (1959): 3–9.

———. “Two Songs with Accompaniment for an Elizabethan Choirboy Play.” Studies in the Renaissance 5 (1958): 145–59.

———. “Two Unpublished Stage Songs for the ‘Aery of Children’.” Renaissance News 13 (1960): 222–32.

———, and Gary Taylor. “Middleton: Music and Dance.” In Thomas Middleton and Early Modern Textual Culture, ed. Gary Taylor and John Lavagnino, 119–81. Oxford: Oxford University Press, 2007.

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———. Children of the Revels. New York: Columbia University Press, 1977.

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