Musical Creativity in Restoration England

Cover
Contents
Figures
Music examples
Tables
Preface
Editorial method
	Staves and braces
	Clefs
	Note values, barring and metre
	Stave signatures and accidentals
	Beaming
	Slurs and ties
	Figuring
	Text, spelling and underlay
Abbreviations
	References to pitch and rhythm
	Manuscript shelfmarks
	RISM sigla
		Belgium
		France
		Germany
		Great Britain (‘GB’ is omitted)
		Ireland
		Italy
		Japan
		United States of America
	Anonymous copyists
	Autograph manuscripts
Part I Creative contexts and principles
1 Imitation, originality and authorship
	Principles of invention
	Imitatio in practice
	Authorship and originality
	Conclusions
2 Sources and their functions
	Practical functions of Restoration music manuscripts
		Fowle originalls
		Performance materials
		Transmission manuscripts
		File copies
		Presentation and collectors’ manuscripts
		Pedagogical materials
	Conclusions
Part II Creative strategies
3 ‘Ye fowle Originall in score’: initial invention and the functions of notation
	Creative strategies relating to large-scale structure
		The composition of instrumental and vocal sections in large-scale works
		The functions of file copies of large-scale music for events
	Creative strategies within movements
		Part invention in non-imitative styles
		Part invention in contrapuntal textures
		Example of the first Platform of a Fuge
	Contrasting approaches: Oxford Act songs and odes
	Conclusions
4 ‘I have here sent ye full Anthems’: transmission and the culture of serial recomposition
	Manuscript transmission and the concept of serial recomposition
	Background variation and the creative role of the copyist
	Conclusions
5 ‘For Seaverall Freinds’: consort music and the study of musical texts
	Serial recomposition in consort music
		Serial recomposition in Locke’s consort music
		Serial recomposition in the consort music of Bowman, Hingeston and Henry Purcell
	Notational exactitude and the study of musical texts
		Stylistic change and the decline of notational exactitude
	Conclusions
6 ‘His mind be filled with the materiall’: arrangement, improvisation and the role of memory
	The creative role of the arranger
		Song arrangments
		Keyboard arrangements
	The creative implications of memorization
		Scribal memory stores and the ‘gist’
		Aural transcription and the creative role of the performer
	Conclusions
Bibliography
	Primary sources (including facsimiles)
		Music
		Literary texts, including music theory and discourse
	Secondary sources
	Modern editions of music
Index of manuscripts
Index of musical works
General index