John Milsom
Biographic Data
| ID | 3600745 |
|---|---|
| NAME | John Milsom |
| GIVEN NAMES | John |
| FAMILY NAME | Milsom |
| SIGNATURE | MILSOM J |
| AFFILIATIONS | University College London |
| ORCID | 0000-0002-4789-0499 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1973 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 1 |
Caustun's Contrafacta
The received view of the Tudor composer Thomas Caustun is of a minor and relatively uninteresting figure. That view is adjusted, however, by the discovery among his works of contrafacta of music by Nicolas Gombert, Philippe van Wilder, Rogier Pathie and Sebastiano Festa. This article considers the reasons why Caustun made these adaptations, and why they they were published under his name, rather than those of their true composers, in John Day's a…
Looking into the earth, Alan E. Musset and M. Aftab Khan
Gerarde [Gerard, Gerardus, Gerrarde], Derrick
Songs and society in early Tudor London
Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich…
English–texted chant before Merbecke
The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics, 1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately …
Tallis's First and Second Thoughts
Thomas Tallis, in common with virtually every other Tudor composer, left no legacy of autograph copies of his music. A glance at the footnotes and critical commentaries that gloss his works in the various collected editions is enough to show how frequently the sources from which his music can be recovered are in disagreement with one another, often in detail, sometimes in greater substance. Looking at these sources and their readings, one is left…
The Date of Ludford's Lady Masses
Journal Article THE DATE OF LUDFORD'S LADY MASSES: A CAUTIONARY NOTE Get access JOHN MILSOM JOHN MILSOM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 66, Issue 4, October 1985, Pages 367–368, https://doi.org/10.1093/ml/66.4.367 Published: 01 October 1985
Ruled Paper Imprinted
Research Article| April 01 1984 Ruled Paper Imprinted: Music Paper and Patents in Sixteenth-Century England Iain Fenlon; Iain Fenlon Search for other works by this author on: This Site PubMed Google Scholar John Milsom John Milsom Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1984) 37 (1): 139–163. https://doi.org/10.2307/831161 Views Icon Views Article contents Figures & …
Italian Cantatas
ITALIAN CANTATAS Get access Leise Settings of the Renaissance and Reformation Era, ed. Johannes Riedel . ‘Recent Researches in the Music of the Renaissance’, xxxv. (A-R Editions, Madison, 1980 ¢21.95.) JOHN MILSOM JOHN MILSOM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 64, Issue 3-4, July 1983, Pages 312-b–313, https://doi.org/10.1093/ml/64.3-4.312-b Published: 01 July 1983
Music of the Minstrels
A New Tallis Contrafactum
Songs, Carols and Contrafacta in the Early History of the Tudor Anthem
The Tudor anthem in its earliest stages of development has generally been considered in the light of the English Reformation, of which it is both a product and a characteristic form. Many of its most distinctive features result directly from the new theological attitudes of the Protestant reformers: the use of Biblical texts, in English rather than Latin; a less strictly prescribed function than that of the ritual music of the Sarum liturgy; and …
Russian Tanks, 1900-1970
Russian Tanks, 1900-1970
Songs, Carols and Contrafacta in the Early History of the Tudor Anthem
The Tudor anthem in its earliest stages of development has generally been considered in the light of the English Reformation, of which it is both a product and a characteristic form. Many of its most distinctive features result directly from the new theological attitudes of the Protestant reformers: the use of Biblical texts, in English rather than Latin; a less strictly prescribed function than that of the ritual music of the Sarum liturgy; and …
Music of the Minstrels
A New Tallis Contrafactum
Italian Cantatas
ITALIAN CANTATAS Get access Leise Settings of the Renaissance and Reformation Era, ed. Johannes Riedel . ‘Recent Researches in the Music of the Renaissance’, xxxv. (A-R Editions, Madison, 1980 ¢21.95.) JOHN MILSOM JOHN MILSOM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 64, Issue 3-4, July 1983, Pages 312-b–313, https://doi.org/10.1093/ml/64.3-4.312-b Published: 01 July 1983
Ruled Paper Imprinted
Research Article| April 01 1984 Ruled Paper Imprinted: Music Paper and Patents in Sixteenth-Century England Iain Fenlon; Iain Fenlon Search for other works by this author on: This Site PubMed Google Scholar John Milsom John Milsom Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1984) 37 (1): 139–163. https://doi.org/10.2307/831161 Views Icon Views Article contents Figures & …
The Date of Ludford's Lady Masses
Journal Article THE DATE OF LUDFORD'S LADY MASSES: A CAUTIONARY NOTE Get access JOHN MILSOM JOHN MILSOM Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 66, Issue 4, October 1985, Pages 367–368, https://doi.org/10.1093/ml/66.4.367 Published: 01 October 1985
Tallis's First and Second Thoughts
Thomas Tallis, in common with virtually every other Tudor composer, left no legacy of autograph copies of his music. A glance at the footnotes and critical commentaries that gloss his works in the various collected editions is enough to show how frequently the sources from which his music can be recovered are in disagreement with one another, often in detail, sometimes in greater substance. Looking at these sources and their readings, one is left…
English–texted chant before Merbecke
The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics, 1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately …
Songs and society in early Tudor London
Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich…
Gerarde [Gerard, Gerardus, Gerrarde], Derrick
Looking into the earth, Alan E. Musset and M. Aftab Khan
Caustun's Contrafacta
The received view of the Tudor composer Thomas Caustun is of a minor and relatively uninteresting figure. That view is adjusted, however, by the discovery among his works of contrafacta of music by Nicolas Gombert, Philippe van Wilder, Rogier Pathie and Sebastiano Festa. This article considers the reasons why Caustun made these adaptations, and why they they were published under his name, rather than those of their true composers, in John Day's a…
Art (10 works) · Art history (8 works) · History (6 works) · Classics (4 works) · Literature (4 works) · Musical (4 works) · Musicology and Musical Analysis (4 works) · Visual arts (4 works) · Computer Science (3 works) · Historical Influence and Diplomacy (3 works)