Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-17T19:10:45.407Z Has data issue: false hasContentIssue false

The Masses and Motets of William Byrd

Published online by Cambridge University Press:  01 January 2020

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Reviews
Copyright
Copyright © Royal Musical Association, 1985

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Brett, Philip, 1981. ‘Homage to Taverner in Byrd's Masses’, Early Music 9, 169–76CrossRefGoogle Scholar
Brown, Alan, ed., 1981. William Byrd: Cantiones sacrae II(1591), The Byrd Edition 3. LondonGoogle Scholar
Brown, Howard Mayer, 1982. ‘Emulation, Competition and Homage: Imitation and Theories of Imitation in the Renaissance’, Journal of the American Musicological Society 35, 148CrossRefGoogle Scholar
Clulow, Peter, 1966. ‘Publication Dates for Byrd's Latin Masses’, Music & Letters 47, 19CrossRefGoogle Scholar
Cummings, Anthony M., 1981. ‘Towards an Interpretation of the Sixteenth-Century Motet’, Journal of the American Musicological Society 34, 4359CrossRefGoogle Scholar
Dunning, Albert, 1970. Die Staatsmotette 1480–1555. UtrechtGoogle Scholar
Humphreys, David LI., 1976. Aspects of the Elizabethan and Jacobean Polyphonic Motet. Unpublished PhD thesis, University of CambridgeGoogle Scholar
Jackman, J. L., 1963. ‘Liturgical Aspects of Byrd's Gradualia’, The Musical Quarterly 49, 1737CrossRefGoogle Scholar
Kerman, Joseph, 1961. ‘Byrd's Motets: Chronology and Canon’, Journal of the American Musicological Society 14, 359–82CrossRefGoogle Scholar
Kerman, Joseph, 1962. ‘The Elizabethan Motet: A Study of Texts for Music’, Studies in the Renaissance 9, 273305CrossRefGoogle Scholar
Kerman, Joseph, 1963. ‘On William Byrd's Emendemus in melius’, The Musical Quarterly 49, 431–49Google Scholar
Kerman, Joseph, 1966. ‘Byrd, Tallis, and the Art of Imitation’, Aspects of Medieval and Renaissance Music, ed. d, 519–37. New York: NortonGoogle Scholar
Kerman, Joseph, 1973. “William Byrd, 1543–1623’, The Musical Times 114, 687–90CrossRefGoogle Scholar
Kerman, Joseph, 1975. ‘Old and New in Byrd's Cantiones sacrae’, Essays on Opera and English Music in Honour of Sir Jack Westrup, ed. Frederick W. Sternfeld, Nigel Fortune and Edward Olleson, 25–43. OxfordGoogle Scholar
Kerman, Joseph, 1979. ‘Byrd's Settings of the Ordinary of the Mass’, Journal of the American Musicological Society 32, 408–39CrossRefGoogle Scholar
Neighbour, Oliver, 1978. The Consort and Keyboard Music of William Byrd, The Music of William Byrd 3. London and Boston: Faber & FaberGoogle Scholar
Phillips, Peter, 1982. ‘“Laboravi in gemitu meo”: Morley or Rogier?’, Music & Letters 63, 8590CrossRefGoogle Scholar
Westrup, Sir Jack, 1955. An Introduction to Musical History. London: HutchinsonGoogle Scholar