Among sixteenth-century musical correspondents, Striggio stands out both for the number of letters he wrote that have survived and for the interest of the subjects he raised. Only Lasso among his exact contemporaries bequeathed more letters to posterity; and Striggio's, taken together, offer an exceptional view of the life of a court musician—one especially privileged by his social position as a member of the nobility—and of certain kinds of music cultivated in the late sixteenth century. The present edition brings together for the first time his complete surviving correspondence, with English translation and commentary.

The core of the historical collection of printed and manuscript music at Christ Church, Oxford derives from a generous bequest in the year 1710 by the late dean of the college, Henry Aldrich. Generosity of other donors is not in question, but Aldrich was more than primus inter pares. An almost contemporary bequest by Richard Goodson senior pales in comparison: printed books from before 1670 (for example) that were contributed by him number barely one-fifteenth of those from the Aldrich bequest. The means whereby Aldrich amassed his musical treasures were lost to direct investigation through the destruction of his personal papers at his express request. It is the aim of this essay to show the extent of evidence for a new claim on the origins of a large part of the collection: that Aldrich acquired shortly after the year 1670 a musical library built up by the first Baron Hatton of Kirby on the basis of his own father's collection. By correlating printed and manuscript contents, it will be shown that a further group of more widely scattered manuscripts was copied for use by Hatton's musicians, and can thus be considered as directly or indirectly dependent on his patronage.

English musicians, collectors and patrons are known to have been interested in Italian music from the early years of the sixteenth century. Italian musicians appear in the lists of Henry VIII's musicians, and from then onwards Italian music was frequently imported and copied into English manuscripts. The prestige and circulation of the Italian madrigal and its effect on the English madrigalists in Elizabeth I's reign have been thoroughly examined; but it is perhaps not fully realized that this interest in Italian music continued unabated into the seventeenth century, and that the latest Monteverdian styles were circulating in England while they were still brand-new in Italy. George Jeffreys’ manuscript copies of Italian music offer a unique example of the dissemination of Italian music in England in the first half of the seventeenth century; unique because we know precisely which printed sources Jeffreys used, who they belonged to, and how and when they came to be in the country. The career of George Jeffreys (c. 1610–85) and his relationship with his patron, Sir Christopher Hatton (1605–70), has been fully described in David Pinto's article ‘The Music of the Hattons’ (this journal, above), and I shall therefore avoid any duplication of information.

This article is concerned with two manuscripts in the Staats- und Stadtbibliothek in Augsburg (Tonkunst Schletterer 200a and 219) which until now have been virtually overlooked by other scholars. Clytus Gottwald's catalogue Die Musikhandschriften der Staats- und Stadtbibliothek Augsburg (Wiesbaden, 1974) does not mention them, even though they have been in the library for many decades. They were known to Hans Michael Schletterer, who briefly referred to them in his Katalog der in der Kreis- und Stadtbibliothek, dem staedtischen Archive und der Bibliothek des Historischen Vereins zu Augsburg befindlichen Musikwerke (Berlin, 1878), pp. 59 and 113, hot as one might expect in the section on music manuscripts, but in his catalogue of early music prints. The reason for this is simple: Tonkunst Schletterer 200a is a manuscript shelved with a closely related set of early printed partbooks, while Tonkunst Schletterer 219 is a single volume comprising an early print bound with manuscript music.

The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styles of American composition. It was a period when traditionalism, modernism and jazz-influenced composition were each passionately defended and condemned not only in the music journals but in the pages of most of the general intellectual magazines.

The list of theses which appears below is the first to be prepared with the aid of the Goldsmiths’ College Music Department's computer. Following the practice adopted in the previous edition of the Supplement, a separate author and subject matter index has been compiled. However, the computer programme has facilitated the production of an additional index which identifies the University and/or College of origin of all theses listed below. Furthermore, the indexes make reference to the complete list of dissertations included in this Supplement rather than being confined, as has been the case hitherto, to theses appearing for the first time, i.e. in Sections I, II and III. While the subject index is rather less detailed, and cross-indexing is not as extensive as formerly, it is hoped that readers will be able to locate the information they are seeking at least as readily as in earlier editions.

This article is a supplement to Barry Cooper's catalogue of 1978 (see below, References). No musical items published before 1801 have entered Aberdeen Public Library since 1979. Of the four Aberdeen University collections mentioned below, Dep is in the library of the Department of Music, while SB and Lib R are in King's College Library. In the course of his original introduction, Barry Cooper mentioned the University's “copyright collection” (p.4), and the inadequacy of its catalogue. Richard Turbet is compiling a checklist of the contents of this collection's 297 volumes, now located within Aberdeen University Library and known as The Stationers’ Hall Collection. As to private collections, Roger Williams has catalogued those in Grampian Region in the care of the National Trust for Scotland, and the catalogues are being prepared for publication. There is early music in the collections at Castle Fraser, Drum Castle, Leith Hall and Brodie Castle. The Montcoffer House private collection, listed in Appendix 3 of the original catalogue, is now housed at Aberdeen University Library MS 2861.