Peter Philips (c.1560-1628) was an English organist, composer, priest and spy. He was embroiled in multifarious intersecting musical, social, religious and political networks linking him with some of the key international players in these spheres. Despite the undeniable quality of his music, Philips does not fit easily into an overarching, progressive view of music history in which developments taking place in centres judged by historians to be of importance are given precedence over developments elsewhere, which are dismissed as peripheral. These principal loci of musical development are given prominence over secondary ones because of their perceived significance in terms of later music. However, a consideration of the networks in which Philips was involved suggests that he was anything but at the periphery of the musical, cultural, religious and political life of his day. In this book, Philips’s life and music serve as a touchstone for a discussion of various kinds of network in the late sixteenth and early seventeenth centuries. The study of networks enriches our appreciation and understanding of musicians and the context in which they worked. The wider implication of this approach is a constructive challenge to orthodox historiographies of Western art music in the Early Modern Period.
In this book, Philips's life and music serve as a touchstone for a discussion of various kinds of network in the late sixteenth and early seventeenth centuries.
Problems of Attribution in Keyboard Music from the Circle of Philips and Sweelinck', in David J. Smith and Rachelle Taylor (eds), Networks of Music and Culture in the Late Sixteenth and Early Seventeenth Centuries: A Collection of ...
Pure major thirds, as in quarter-comma meantone, require the intervening fifths (as in the sequence C–G–D–A–E) to be ... of beating rates in Thomas Donahue, A Guide to Musical Temperament (Lanham, Maryland: Scarecrow Press, 2005), p.
... the suites have the appearance of being unbalanced and come across more effectively when supplemented by contemporary arrangements of Purcell's theater airs, songs, and vocal grounds.38 Draghi's ninety keyboard pieces are preserved ...
Mault's Come Down The Mayden's Song Monsieur's Almaine Most Sweet and Fair / Duchess of Brunswick's Munday's Joy / The faery Gallyarde My Choice I will not change My Grief Byrd, Sweelinck2 Tomkins, anon. G. Farnaby, John Munday Byrd ...
In Chapter 15 of this volume, Lynsey McCulloch notes this decision when engaging with the internal politics surrounding casting at the Royal Ballet. MacMillan in Out of Line: A Portrait of Sir Kenneth MacMillan (London: BBC-TV, 1990).
An authoritative survey of music and its context in the Renaissance.
Women and Culture at the Courts of the Stuart Queens (Basingstoke, 2003); S. Tomlinson, Women on Stage in Stuart Drama (Cambridge, 2005); K. Britland, Drama at the Courts of Queen Henrietta Maria (Cambridge, 2006); E. Griffey (ed.) ...
An interdisciplinary reassessment, Music and Jewish Culture in Early Modern Italy evaluates the social, cultural, political, economic, and religious circumstances that shaped this community, especially in light of the need to recognize ...
I focus rather on the various social and cultural functions of music for early modern Jews, primarily in Italy. ... by browsing through the lists of books owned by the city's Jews in the late sixteenth and early seventeenth centuries, ...