Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Acknowledgements vii
4. Contributors viii
5. Abbreviations and Library sigla xi
6. Introduction xiii
7. Sources
8. Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth ( fl.1350) 1
9. The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10 22
10. Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf 47
11. A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others 66
12. Style
13. The Earliest Fifteenth-Century Transmission of English Music to the Continent 83
14. ‘Phantasy mania’: Quest for a National Style 97
15. Purcell’s 1694 Te Deum and Jubilate: Its Successors, and Its Performance History 122
16. Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings 143
17. Double cantus firmus Compositions in the Eton Choirbook 162
18. Englishness in a Kyrie (Mis)attributed to Du Fay 185
19. Performance
20. Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640 215
21. ‘As the sand on the sea shore’: Women Violinists in London’s Concert Life around 1900 232
22. The Carol in Anglo-Saxon Canterbury? 259
23. Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605 270
24. Music in Oxford, 1945–1960: The Years of Change 281
25. Historiography
26. Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church 298
27. Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero 311
28. Epilogue
29. John Caldwell (b 1938): Scholar, Composer, Teacher, Musician 325
30. Index 335
31. Tabula Gratulatoria 347