1 Theodor Dumitrescu, The Early Tudor Court and International Musical Relations (Aldershot, 2007), 224–6.

2 John Taverner, Masses, Tudor Church Music, 1 (Oxford, 1923), lviii.

3 Roger Bray, ‘British Museum Add. MSS 17802–5 (The Gyffard Part-Books): An Index and Commentary’, Royal Musical Association Research Chronicle, 7 (1969), 31–50.

4 His work is summarized (with some new information) in the prefaces to these EECM volumes; for a full account see David Mateer, ‘The Compilation of the Gyffard Partbooks’, Royal Musical Association Research Chronicle, 26 (1993), 19–43, and idem, ‘The Gyffard Partbooks: Composers, Owners, Date and Provenance’, ibid., 28 (1995), 21–50.

5 John Milsom, ‘Sacred Songs in the Chamber’, English Choral Practice 1400–1650, ed. John Morehen (Cambridge, 1995), 161–79.

6 Philip Brett, ‘Edward Paston (1550–1630): A Norfolk Gentleman and his Musical Collection’, Transactions of the Cambridge Bibliographical Society, 4 (1964–8), 51–69, repr. in idem, William Byrd and his Contemporaries: Essays and a Monograph, ed. Joseph Kerman and Davitt Moroney (Berkeley, CA, 2007), 31–59; Brett, ‘Prefaces to Gradualia’, ibid., 128–230.

7 Milsom, ‘Sacred Songs in the Chamber’, 167–8; David Mateer, ‘William Byrd, John Petre and Oxford, Bodleian MS Mus. Sch. E. 423’, Royal Musical Association Research Chronicle, 29 (1996), 21–46.

8 The Tudor Church Music of the Lumley Books, ed. Judith Blezzard, Recent Researches in the Music of the Renaissance, 65 (Madison, WI, 1985); The Wanley Manuscripts, ed. James Wrightson, ibid., 99–101 (Madison, WI, 1995); Milsom, ‘Sacred Songs in the Chamber’, 169–70.

9 John Bergsagel, ‘An Introduction to Ludford (c.1485–c.1557)’, Musica disciplina, 14 (1960), 105–30; idem, ‘On the Performance of Ludford's Alternatim Masses’, ibid., 16 (1962), 35–55; John Milsom, ‘The Date of Ludford's Lady Masses: A Cautionary Note’, Music and Letters, 66 (1985), 367–8.

10 Roger Bray, ‘The Part-Books Oxford, Christ Church, MSS 979–983: An Index and Commentary’, Musica disciplina, 25 (1971), 179–97; idem, ‘British Library, R.M. 24 d 2 (John Baldwin's Commonplace Book): An Index and Commentary’, Royal Musical Association Research Chronicle, 12 (1974), 137–51; idem, ‘John Baldwin’, Music and Letters, 56 (1975), 55–9.

11 David Mateer, ‘Oxford, Christ Church Music MSS 984–8: An Index and Commentary’, Royal Musical Association Research Chronicle, 20 (1986–7), 1–18; John Milsom, introduction to The Dow Partbooks (Oxford, 2010), 1–28.

12 David Mateer, ‘John Sadler and Oxford, Bodleian Mss Mus. e. 1–5’, Music and Letters, 60 (1979), 281–95; Judith Blezzard, ‘Monsters and Messages: The Wilmott and Braikenridge Manuscripts of Latin Church Music, 1591’, Antiquaries Journal, 75 (1995), 311–38.

13 id eo fecimus, amice lector, non quod eos omnes pro divis habeamus, quorum aliquos ne in bonis quidem ducimus; aut quod alioqui (si sanctissimi sint) iis divinum cultum atque honorem tribuendum censeamus: sed ut certarum quarundam rerum, quarum stata tempora nosse plurimum refert, quarumque ignoratio nostris hominibus obesse possit, quasi notae quaedam sint atque indicia’. Preces priuatae in studiosorum gratiam collectae, & regia authoritate approbatae (London: William Seres, 1564), ‘Admonitio ad lectorem’.

14 John Milsom, ‘The Arcane Colours of Fayrfax’, Early Music, 33 (2005), 523–4.

15 Edward Wickham, ‘Foibles of Format’, Early Music, 37 (2009), 125–6 (p. 126).

16 Edward Lowinsky, ‘Laurence Feininger (1909–1976): Life, Work, Legacy’, Musical Quarterly, 63 (1977), 327–66 (p. 344).

17 David Wulstan, review of EECM 18 (John Sheppard, Masses), Music and Letters, 58 (1977), 369.