Ernst, Fritz (1945). Die spielleute im dienste der stadt Basel im ausgehenden mittelalter (bis 1500). Basel, Karl Werner.
Farmer, Henry George (1950). Military Music. London, Max Parrish & Co Ltd.
Fawcett, Trevor (1979). Music in eighteenth century Norwich and Norfolk. Norwich, Centre for East Anglian Studies, Univ. of East Anglia.
Fellowes, Edmund (1925). Orlando Gibbons. Oxford, Clarendon.
Genesi, Mario-Giuseppe (1987).Tradizione bandistica a Piacenza
e Provincia. [Wind bands of Piacenza and its province.] Strenna piacentina,
Italy Vol. VII: 128-40. In Italian.
A historical survey of the Piacenza wind bands that flourished in the 19th c. As early as 1581 Montaigne was an eyewitness of a group of 'pifferi' playing the 'diana' or 'révellier' at the Piacenza Cittadella. With those of the the provincial capital, bands of neighboring resorts are also reviewed, such as the Pontedellolio formation launched in 1752, and those of Lugagnano in Val d'Arda, Fiorenzuola, Carpaneto, Borgonovo, Monticelli d'Ongina, Agazzano, Castell'Arquato, and Cortemaggiore. Playing as a bandsman is one of the most deep-rooted, popular and traditional musical pursuits in the Padania district.
Gifford, Robert M (1974). Performance practice and notation - to ca. 1600. Journal of band research [United States]; Vol. X/2, 25-32. Bibliography. ISSN: 0021-9207. Central Missouri State U., Warrensburg, USA
Documents the establishment of groups of municipal servants known as waits during the 14th c., the prominence of these groups as pipers in the 15th c., and their continued development during the 16th c. Explains how the medieval wind band came into existence, how the various groups functioned, the actual performance practices of these groups, and the eventual absorption of the wind band by new musical trends and practices. Discusses the possible early beginnings of the trombone, for it seems plausible that various types of instruments were undergoing experimentation and that several of these, such as the long, moveable trumpet, the trumpet with an actual slide, and even the small discant trombone, were developed either simultaneously or grew out of various combinations of each other.
Giles, W (????). York Corporation House Books. MS transciption of vols 39-50 (1631-1835). In York City Library. [carries on from where REED left off]
Gilliodts-van Severen, L (1871-85). Inventaire des archives de la ville de Bruges. Societé d’Émulation: Chroniques) 4vv. Brugge.
Gilliodts-van Severen, L (1912). Les ménestrels de Bruges. Recueil de textes et analyses de documents inédits ou peu connus. Essais d’archéologie Brugeoise. II, Brugge.
Gregoir, EGJ (1869). Notice historique sur les societés et écoles de musique d’Anvers depuis les temps le plus reculés jusqu’à nos jours, suivie de notices biographiques d’artistes musiciens anversois. Antwerp.
Gregoir, EGJ (1872). Notes tirées des archives de la cathédrale de N. Dame d’Anvers. In: Littérature musicale. Documents historiques relatifs a l’art musical et aux artiste-musiciens. 1 Brussel, pp. 57-76. (Possibly incorrect. See refs. in Spiessens G.).
Gregoir, EGJ (1876). Notes sur les mènétriers (speelieden). In: Littérature musical. 4, pp. 87-95.
Griffiths, David (nd. 1994?). A musical place of the first quality: a history of institutional music making in York c. 1550-1990. York, York Settlement Trust, 126 Holgate Road, York YO2 4DL. ISBN 0951 92293 9.
Hadland, FA (1915). The Waits. Musical News 106-107, 125-126, 149-150, 177-178, 198-200, 214-215.
Haid, Gerlinde (1972). Das Lied zum Neuen Jahr. Einige Beispiele aus
Niederösterreich. [Songs for the New Year. Some examples from Lower
Austria.] Österreichische Musikzeitschrift, Austria Vol.
XXVII(9): 473-82. Music examples. In German.
The New Year celebration has a special place in musical customs; it takes the form of tower music (Turmblasen), songs of praise (Ansingen), games, hymns, and lieder (the Besinnungslied and the Brauchtumslied). The New Year's music of Lower Austria shows the influence of Christmas music - a refrain from a pre-Reformation hymn, Ein Kind geborn zu Bethlehem, appears in many songs of praise for the New Year. In some melodies, the strong influence of music for wind instruments is evident. A special form of New Year's music is the melodically archaic night-watchman's call (Nachtwächterruf). Today New Year's music is performed mainly because of interest in tradition, custom, and folklore.
Harley, John (1968). Music & (in?) Purcell’s
London.
Includes:
The publick waites who liveryes do own,
And badges of a City, or some Town,
Who are retain’d in constant Yearly pay,
Do at their solemn publick meetings play.
And up and down the Streets, and Town in cold
Dark nights, when th’Instruments they can scarce hold
They play about, and tell what hour it is,
And weather too, this Course they do not miss,
Most part of Winter, in the Nights; and when
Some generous Persons come to Town, these Men
As soon as they’re Inform’d, do then repair
Unto their Lodgings play them some fine Ayre
Or brisk new tune, such as themselves think fit,
And which they hope, with th’ Gallants fancies hit,
They cry God Bless you Sirs; again then play,
Expecting Money, e’er they go away.
(Pecunia obediunt omnia.)
Anon. c.1680
Harley, John (1999). Orlando Gibbons and the Gibbons Family of Musicians. Ashgate Publishing, Aldershot. ISBN 1 84014 209 X.
Four pages about William Gibbons, including his altercation with William Bird of the Cambridge University waits (see Miscellanea section).
Hatfield, Charles William (1868). Minstrels, waits and Christmas carols. In: Historical notices of Doncaster. Doncaster, Brook, White and Hatfield. 182-190.
Heaney, Michael (1986). Must every fiddler play a fiddle? REED Newsletter 11(1): 10-11.
Herbert, Trevor The Trombone Yale University Press (Yale Musical Instrument Series) 2006 ISBN0-300-10095-7
Hildebrandt, Maria Die Zunft der Munchner Stadtmusikanten Jahrbuch für Volksliedforschung, 34. Jahrg., 1989 (1989), pp. 135-138 doi:10.2307/849200
Himmer, Otto (1992). Den tidlege klarinet i Danmark. Arhus: MUSA-Print 159-81.
The clarinet appears from the mid-18th c. among the city waits and the Life Guard, in the orchestra of the Kongelige Teater, and at court. The most prolific makers are Peter Apelberg, Friderich Coppy, Jacob Georg Larshoff and Johan Christoffer Selboe, and among the clarinettists are Joseph Rauch and Mozart Petersen. The clarinet is one of the main instruments used in the countryside. In this connection literary and iconographic sources, together with clarinet maker Mads Brems's instruments, are described.
Hobbs, Mary (1975). John Wilson's literary sources. Lute Society journal [United Kingdom]; Vol. XVII 6-16.
John Wilson left a collection of some 210 songs in Bodley MS Mus. b.1 [J.W.]. Many of the authors of the poems set have been identified, but the nature of Wilson's connection with them was obscure until the Stroughton MS, a poetry anthology, came to light recently. This includes 34 poems set by Wilson in the first part of his song book. The same poems are found in only a few of the many similar collections of the period, three of which have been shown to have connection with the poet Bishop Henry King. King would have met Wilson, who was made Musician in Ordinary for the lute in 1635, at court, although they may have known one another earlier when Wilson was one of the city waits. Whether Wilson used a collection of poems in King's possession, or alternatively King had copied the poems which Wilson had set to music, the conclusion is inescapable that some direct connection existed between the poet and the composer. A list is appended which correlates 57 of Wilson's songs with manuscript sources for the poems.
Holman, Peter (1993) Four and Twenty Fiddlers. The violin at the English court 1540-1690. OUP, Oxford. ISBN 0.19.816145.X
Howey, Henry (1991). The lives
of Hoftrompeter and Stadpfeiffer as portrayed in three novels of Daniel Speer. Historic
Brass Society journal Vol. III: 65-78.
A discussion of passages from three novels by the composer Daniel Speer (1636-1707) which describe the lifestyle and responsibilities of town musicians in the 17th c. The novels are «Ungarischer oder Dacianischer Simplicissimus» (1683), «Türckischer Vagant» (1683), and «Simplicianisher, lustig-politischer Ungarischer Simplicissimus» (1684).
Huybens, Gilbert (1981). Bouwstenen voor een geschiedenis van de muziek te Leuven - 17de en 18de eeuw. In: Jaarboek van de Geschied- en Oudheidkundige Kring voor Leuven en omegeving, 21, pp. 5-93 (lijst van speelieden, trompetters, pp. 7-24).
Huybens, Gilbert (1982). Bronnen voor de geschiedenis van het muziekleven te Leuven in de 16de eeuw (1471-1594) - Stadspijpers, trompetters, speelieden.. In: Muziek te Leuven in de 16de eeuw (ed. G. Huybens), Leuven, pp. 20-23, 23-24, 24-25, 40-43 (lijst van de stadspeelieden).
Huybens, Gilbert (1985). Vier eeuven muziek in en voor de stad Leuven. In: Bijdragen tot de Geschiedenis (de Brabantse stad), 68, afl. 1-4, pp. 113-126.
Huybens, Gilbert (1998). Antwerpse, Brugse, Brusselse, Gentse, Ieperse en Leuvense stadsspeellieden en - trompetters. Musica Antiqua. Actuele informatie over oude musiek. 15/4 160-169.
Huybens, G & Schreurs, E (19??). T’Haegelant. Quatre
recueils de musique du XIIIe siècle de Diest. Huybens, G & Schreurs, E
eds. Peer, Belgium. ISBN 90 6853 094 1. [sold out, 11/11/99]
This music collection, which once belonged to the Di Martinelli family of musicians
and lawyers in Diest, was only recently discovered. Of particular interest for research on
local town musicians ('speellieden'), are four small but exceptional music books, called
'speelmansboekjes'. These contain a wealth of unique and typically local tunes, including
Het Diester Bier (a well-known brown beer from the town of Diest), tdansken van Hogaerden
(Hoegaarden Dance, another village famous for its beer), and Den Antwerpschen omganck (the
Antwerp Procession). Music books for town musicians are very rare and this edition is
particularly interesting for folk musicians, musicologists with an interest in fiddlers'
tunes and anyone interested in local history.
Hodgson, JC (1892). An account of the customs of the court leet and court baron of Morpeth, with the court roll of 1632. (extracted from Mr Woodman’s collection). Archaeologia Aeliana XVI (new series) 52- (see p.59).
Irving, Washington (1848). The Sketch Book of Geoffrey Crayon Gentn.
Includes a description of ‘waits’, misquoted by Bridge, 1928 pretending it described true waits. The description is of some Chrismas Waits! (see discussion essay by Merryweather).
Irving, Washington Illustrated by R Caldecott (1876) Old Christmas Macmillan & Co
contains a very lyrical passage, describing village Christmas Waits
Janssen, Carole Ann (1979). The Waytes of Norwich and an Early Lord Mayor’s Show. RORD (Research Opportunities in Renaissance Drama) 22:57-64.
Janssen, Carole Ann (1978). The waytes of Norwich and renaissance civic pageantry. Unpublished PhD Thesis, University of New Brunswick.
Jewett, Ll & Hope, WH StJ (1895). The corporation plate and insignia of office of the cities and towns of England and Wales. 2 vols. London & Derby, Bemrose & Sons.
Jordan, ThomasLondons triumphs illustrated with many magnificent structures & pageants on which are orderly advanced several stately representations of poetical deities, sitting and standing in great splendor on several scenes in proper shapes : with pertinent speeches, jocular songs (sung by the city musick) and pastoral dancing performed October 29, 1677 for the celebration, solemnity, and inauguration of the Right Honourable Sir Francis Chaplin Knight, lord mayor of the city of London. Published by John Playford, London, 1677. Contender for the Longest Book Title Award?
Kelly, Ruth (1997). The lyra viol music of Simon Ives (1600-1662). MPhil, Univ. of Sydney. [88M377]
Kelly, William. (1865). Notices Illustrative of the Drama; and Other Popular Amusements at Leicester. London.
Kemp, William. (1600). Nine Daies Wonder. London. Complete reprints at e.g:
http://darkwing.uoregon.edu/~rbear/kemp.html
http://eaasdc.de/history/shekempj.htm
Keynes, FA, Mrs (1947). Cambridge waits & Orlando Gibbons. In By-ways of Cambridge history. Cambridge, CUP. 57-80.
Kilbey Maggie (2002). Curtal, Dulcian, Bajon: A History of the Precursor to the Bassoon. pp. 303, 147 b/w illustrations & line drawings. ISBN 0-9543492-0-2 www.curtalbook.com
Knight, CB (1944). The Sheriffs’ Riding. In A history of York. 471-2.
Knight, Freda (1980). Cambridge Music. Cambridge, Oleander. ISBN 0 900891 51 3.
Knowles, John Ward (1924). York Musicians. Mss. and cuttings. In York City Library.
Koldewey, A (1990). In Buscoducis. Kunst uit de Bourgondische tijd te ‘s-Hertogenbosch. De cultuur van late middeleeuwen en renaissance. ‘s-Gravenhage.
Kossmann, FJ (1988). Stadsmuzikanten in de Ijsselsteden gedurende de late middleeeuwen. In: Overijsselse Historische Bijdragen. 103, pp. 25-43 (Deventer, Kampen, Zwolle).
Koudal, Jens Henrik (1994). Town waits and country fiddlers in Denmark. Historische
Volksmusikforschung 285-294.
In early modern Denmark there existed a town wait organization of musicians who exerted a monopoly on playing. This organization was constantly competing with an unorganized, unprivileged musical sphere of activity. The privileged musicians in Denmark were called «instrumentister» or--after 1750--<stadsmusikanter», the unprivileged were called «fuskere», «bonhaser», and «bier-fidlere». The archive material
concerning town waits can give us a view into the traditional music of the area,
especially the sources concerning conflicts between the two musical orders.
Kraemer, Uwe (1983). Hamburg’s town musicians. In CD notes: William Brade (1560-1630) - Hamburger Ratmusik um 1600. Hesperion XX. Harmonia Mundi, D-7800, Freiburg.
Langwill, Lyndesay (1952). The Waits. A short history. Hinrichson’s Musical Year Book vol. VII: 170-183.
Lasocki, David (1982). Professional recorder playing in England 1500-1740.Early Music [United Kingdom]; Vol. X/1; 2 23-29; 182-191. Illustration, portrait, music examples. ISSN: 0306-1078.
Describes the history of professional recorder playing in England by examining music at the court, theaters, opera houses, civic functions (by the waits, the City of London's official musicians), and public concerts. Attempts to determine where recorders were played, what kind of music was played, who the players were, what kind of training they received, and what types of recorders they played. Discusses the Bassano family, who arrived from Venice in 1531 and dominated recorder music at the court and on the Continent. During the Civil War and the Commonwealth, many of the previous sources of employment for recorder players disappeared. The court was dismissed, public theaters were closed, and more musicians were forced to earn a living playing in taverns or teaching.
Lasocki, David (1983) Professional recorder players in England, 1540-1740. PhD thesis. University of Iowa.
Lasocki, David (1985) The Anglo-Venetian Bassano Family as Instrument makers and repairers. Galpin Society Journal 38, 112-132.
Lasocki, David (1986) The Bassanos - Anglo-Venetian and Venetian. Early Music 14, 558-560
Lasocki, David (1988) The French Hautboy in England, 1673-1730. Early Music 16, 339-357
Letts, Malcolm (ed.) 1957. The Travels of Leo of Rozmital / through Germany, Flanders, England, France, Spain, Portugal and Italy / 1465-1467. Hakluyt Society. Second series, part II, no. 108. Includes translation of observation of waits calling the weather for mariners by Leo Rozmital, a Bavarian traveller in 1466.
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