Relevant bibliographies by topics / John Sturt's lute book

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'John Sturt's lute book'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "John Sturt's lute book"

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Harper, Sally. "An Elizabethan Tune List from Lleweni Hall, North Wales." Royal Musical Association Research Chronicle 38 (2005): 45–98. http://dx.doi.org/10.1080/14723808.2005.10541009.

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A little-known list of some 80 Elizabethan tune titles, probably copied during the 1590s at Lleweni Hall, near Denbigh in north Wales, is preserved in the library archive of the University of Wales, Bangor: MS Gwyneddon 4, a composite volume of late medieval Welsh poetry (p. 130 / f. 71v; see Illustration 1 and Figure 1 for parallel transcription). The list has neither heading nor notation, and was apparently written out at speed in random order. It has received little attention to date, although a transcription was published by Ifor Williams in 1937, and John Ward noted concordances with some
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Шарма Сушіл Кумар. "Indo-Anglian: Connotations and Denotations." East European Journal of Psycholinguistics 5, no. 1 (2018): 45–69. http://dx.doi.org/10.29038/eejpl.2018.5.1.sha.

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A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with th
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Cutler, Ella Rebecca Barrowclough, Jacqueline Gothe, and Alexandra Crosby. "Design Microprotests." M/C Journal 21, no. 3 (2018). http://dx.doi.org/10.5204/mcj.1421.

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IntroductionThis essay considers three design projects as microprotests. Reflecting on the ways design practice can generate spaces, sites and methods of protest, we use the concept of microprotest to consider how we, as designers ourselves, can protest by scaling down, focussing, slowing down and paying attention to the edges of our practice. Design microprotest is a form of design activism that is always collaborative, takes place within a community, and involves careful translation of a political conversation. While microprotest can manifest in any design discipline, in this essay we focus
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Dissertations / Theses on the topic "John Sturt's lute book"

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Kapeller, Ulrike Sturt John. "Untersuchungen zu John Sturt's lute book." Regensburg : G. Bosse, 1988. http://catalog.hathitrust.org/api/volumes/oclc/19370549.html.

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Books on the topic "John Sturt's lute book"

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Kapeller, Ulrike. Untersuchungen zu John Sturt's lute book. G. Bosse, 1988.

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Grapes, K. Dawn. Dowland. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197558881.001.0001.

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Abstract Dowland celebrates the story of one of the most important, most studied, and most performed composers to emerge from early modern England. More than just a biography, this monograph contextualizes the geographical, political, religious, cultural, and musical aspects of the life of John Dowland (1563–1626). In doing so, the book provides a window into life as a musician in the Elizabethan-Jacobean era, illuminating the importance of social, courtly, and academic connections. The narrative follows a master lutenist, renowned for his virtuosic skills, on journeys to France, through the G
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Jackson, Christine. Courtier, Scholar, and Man of the Sword. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.001.0001.

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Lord Herbert of Cherbury (1582–1648) was a flamboyant Stuart courtier, county governor, soldier, and diplomat who acquired a reputation for duelling and extravagant display but also numbered among the leading intellectuals of his generation. He travelled widely in the British Isles and Europe, enjoyed the patronage of princely rulers and their consorts, acquired celebrity as the embodiment of chivalric values, and defended European Protestantism on the battlefield and in diplomatic exchanges. As a scholar and author of De veritate and The Life and Raigne of King Henry the Eighth, he commanded
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Larson, Katherine R. The Matter of Song in Early Modern England. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843788.001.0001.

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Given the variety and richness of the sixteenth- and seventeenth-century English “songscape,” it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. The Matter of Song in Early Modern England: Texts in and of the Air opens up the notion of song from a performance-based perspective and considers the implications of reading early modern song not simply as lyric text but as embodie
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Book chapters on the topic "John Sturt's lute book"

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Spring, Matthew. "The Golden Age, Part I: 1580–1603." In The Lute in Britain. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198166207.003.0005.

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Abstract Ovid, in his first book of the Metamorphoses, describes the four ages of man, of which ‘The Golden Age was first; which uncompelled, And without rule, in faith and truth exceelled’. Under the reign of Saturn this age experienced no wars, no laws, no seasons, and there was no work to be done. Peace, justice, and equality were universal. Virgil in his fourth Eclogue spoke of the dawning of a new golden age for Rome under Augustus, when civilization and the arts would flourish. This poem was later reinterpreted by Constantine, with the virgin goddess Astraea, who ushers in the new golden
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Spring, Matthew. "The Golden Age, Part I: 1580-1603." In The Lute In Britain. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195188387.003.0005.

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Abstract for the play that is now, and the lessons (that are now a daies) are so curiouslie set, that we of the olde mine, are smoakt up like to seacole, and this age, hath the golden ore, and sparkling diamondes of divine Musitions, that for mine owne part, I am content, to give place both to youth, and the time, onelie content to be an auditore, and lover of the best. Knight to Timotheus, in Thomas Robinson, The Schoole of Musicke (1603), sig. B Ovid, in his first book of the Metamorphoses, describes the four ages of man, of which ‘The Golden Age was first; which uncompelled, And without rul
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Grapes, K. Dawn. "The Second Booke of Songs or Ayres (1600) and The Third and Last Booke of Songs or Aires (1603)." In Dowland. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197558881.003.0010.

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Abstract During John Dowland’s tenure in Denmark, he produced some important musical volumes, including the The Second Booke of Songs or Ayres (1600) and The Third and Last Booke of Songs or Aires (1603), both printed in England. The Second Booke was published while the composer was in Denmark and the process for publication, in which his wife assumed the initial role of agent, George Eastland publisher, and Thomas East printer, sheds light on printing practices in late Elizabethan England. The Second Booke also includes an often overlooked acrostic based on the name of dedicatee Lucy Haringto
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Jackson, Christine. "Musician and Poet." In Courtier, Scholar, and Man of the Sword. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0013.

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Music-making was a popular leisure activity in aristocratic households in the early seventeenth century and a growing number of courtier poets wrote and exchanged verse in aristocratic salons and literary coteries. Chapter 12 continues the exploration of Herbert’s intellectual achievements and reputation as a polymath. It traces his interest in playing the lute and singing, and the musical preferences and fashions demonstrated by the music books he owned and the preludes, fantasias, pavanes, galliards, courantes, voltes, sarabands, and airs assembled in his unique manuscript lute book. It prob
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