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Music History & Criticism

Beyond Boundaries

Rethinking Music Circulation in Early Modern England

contributions by Linda Phyllis Austern, Candace Bailey, Amanda Eubanks Winkler, Katherine Steele Brokaw, Jane Flynn, Graham Freeman, Christopher R. Wilson, John Milsom, Katherin R. Larson, Sarah F. Williams, Alan Howard, Bryan White, Rebecca Herissone, Suzanne Aspden, Michael John Burden & Bonny Miller

Publisher
Indiana University Press
Initial publish date
Feb 2017
Category
History & Criticism, General
  • Paperback / softback

    ISBN
    9780253024824
    Publish Date
    Feb 2017
    List Price
    $24.00
  • Hardback

    ISBN
    9780253024794
    Publish Date
    Feb 2017
    List Price
    $105.00

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Description

English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.

About the authors

Contributor Notes

Linda Phyllis Austern is Associate Professor of Musicology at Northwestern University. She is author of Music in English Children's Drama of the Later Renaissance, editor of Music, Sensation and Sensuality, editor (with Inna Naroditskaya) of Music of the Sirens, and (with Kari Boyd McBride and David Orvis) of Psalms in the Early Modern World.

Candace Bailey is Professor of Music History at North Carolina Central University. She is the author of Music and the Southern Belle: From Accomplished Lady to Confederate Composer and Seventeenth-Century British Keyboard Sources.

Amanda Eubanks Winkler is Associate Professor of Music History and Cultures at Syracuse University and author of O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage.

Editorial Reviews

At its core, this collection is a timely critique of the linguistic state of its field.

Notes