Mackerness, Eric (1974). Somewhere Further North, a history of music in Sheffield. Sheffield, Northland.
Malden, John (1989). Register of York freemen. York, William Sessions. Microfiches. ISBN 1 85072 054 1.
Malone Society (1980/1) Collections Volume XI, Records of Plays and Players in Norfolk and Suffolk. Oxford, The Malone Society Reprints No. 141. Contains many references to Waits from Town Council records, account books, etc. See the Malone page on this site.
McGee, Timothy James (1992-95). Misleading iconography: The case of the "Adimari Wedding Cassone." Imago musicae: International yearbook of musical iconography Vol. IX-XII: 139-157.
The "Adimari Wedding Cassone", attributed to Giovanni di Ser Giovanni Guidi (Florence, Galleria dell'Accademia di Belli Arte), was not intended as a wedding object: It alludes only generally to Florence, and not to a more specific location; its date (1443-65) was long after the actual wedding it supposedly represented (held 22 June 1420); and it has little reason to be associated with Adimari or any other specific Florentine family. Further, the scene depicted is not necessarily from a wedding: The painting portrays a typical festive occasion attended by aristocratic Florentines, a lavish banquet followed by dancing and accompanied by the civic «pifferi» (an ensemble of three shawms
and a slide trumpet). The presence of the civic «pifferi»--which was only occasionally
allowed to perform for private events--indicates that the sponsors of the event were from
a high level of Florentine society. The dances featured are of a generic, processional
type. The present frame is a part of the original construction, and suggests that the work
was intended to function as an independent framed painting, although it might have
functioned as one of a set of «spalliere».
McGowan, Keith (1999). The Prince and the piper. Early Music 27(2): 211-232.
Merryweather, James W (1988). York Music. York, Sessions Book Trust. ISBN 1 85072 034 7.
History of waites in York, 1304-1896.
Merryweather, James W (1992). York Music - update. From author on request, or downloadable from this site. Click here.
Merryweather, James W (1993). The Waites’ Progress. From author on request.
An illustrated itinerary for a walk around historic York to visit the places where the city waites (ca. 1300-1836) lived and made their music.
Merryweather, James W (1994). The town waits. The Richmond (Yorkshire) Review. 17: 18-21.
Merryweather, James W (1999). Common grounds. Bagpipe Society Newsletter. Summer, 1999 10-12.
Merryweather, James W (1999). Debagging & rebagging or rebagging the debagged. Bagpipe Society Newsletter Autumn, 1999, 20-24.
Merryweather, James W (1999). The Minstrels' Pillar in St Mary's Church, Beverley - a Tudor portrait of the York Waites? York Historian Volume 16 1999 (ISBN 0 9519981 6 1 ISSN 0309 - 3743)
Merryweather, James W (1999). Why are they waiting? Early Music Today. December 1999/January 2000. 5-7.
Merryweather, James W (1999). Watchmen, gaytes, and waits. Unpublished.
Merryweather, James W (1999). Liber Niger Domus Regis, c. 1471. Unpublished. Eleven versions of the archetypal earliest definition of a wait. Not one is the same as another. Here is the beginning of the most authoritative:
“A WAITE that nightly from Michaelmas till Shere-thursday pypeth the watche within this Court fower Tymes, And in the summer nightes threetymes [sic] And he to make bon gayte and [sic (at)] euery chambre doore and office aswell for fuyre as for other pikers or perelles....” Stephen, George A (1933).
Merryweather, James W (1999). Prof. Bridge, Washington Irving & The Waits.
Unpublished.
Bridge (1928) deliberately misquoted and misused a passage from The Sketch Book of Geoffrey Crayon Gent for the first paragraph of his paper Town Waits and their Tunes. The passage referred to post-waits carol singers.
Merryweather, James W (1999). A much quoted (e.g. Anon, 1915; Bridge, 1928; Langwill,
1952), but so far unidentified passage in De Naturis Rerum by Alexander Neckam,
often given as the first occurrence of the word waits (Assint etiam excubiæ vigiles
(veytes) cornibus suis strepitum et clangorum facientes.).(see discussion essay by Merryweather 1999).
Several people have hunted through the published text of this work and cannot find the
passage (Carole Ann Janssen, 1978; James Merryweather, 1999; James Cummings, 2000). Therefore, we have no idea where the original quotation came from or who first quoted it making it so important a red herring.
Merryweather J.W. (2001). English two-chanter bagpipe. Galpin Society Journal. LIV 62-75.
Merryweather J.W. (2002). Two-chanter bagpipes revisited. Galpin Society Journal. LV 386-390.
Merryweather J.W. (2002). Regional bagpipes: history or bunk? EFDSS Newsletter Summer 200, 9-12.
Merryweather J.W. (2003). Geordie's drones. Chanter. Winter 2003 12-13.
Merryweather J.W. (2004). Pipe Down. Early Music Today. 12 (2): 18-19.
Merryweather, James W (2004). The York Waits' Chains. York Historian - vol. 20. Also on this site Click here
Merryweather J. W. (2005). Dr. Merryweather's Song-Booke. Ruxbury Publications ISBN 1-904846-11-4.
A large and comprehensive collection of "Songs tobe Sungen by Town's Waites...". Includes numerous relevant notes, and a section on Waits in the introduction.
Munrow David Instruments of the Middle Ages and Renaissance Oxford University Press 1976 ISBN 0 19 321321 4.
Myers, A.R., ed. (1959) The Household of Edward IV; The Black Book and the Ordinance of 1498. Manchester: Manchester University Press.
Quotes the Liber Niger Domus Regis Angliae, 1483 (see discussion essay by Merryweather).
Myers, Herbert W. (1989). Slide trumpet madness: fact or fiction?. Early Music. Vol. XVII no. 3, 383-389.
Neckam, Alexander (late 13th C). De naturis rerum. In: Alexandri Neckam De naturis rerum libro duo, with the poem of the same author, De laudibus divinae sapientiae. Thomas Wright ed. Longman, London, 1863. Kraus Reprint (facsimile) New York, 196-.
“Rolls series” vol. 34.
(see discussion essay by Merryweather 1999)
Nichols, John Gough. (1837). London Pageants. London.
Noyes, Alfred. (1913). Drake. Collected Poems. vol. I. New York: Stokes. 246-426.
Ongaro, Giulio (1985). 16th-century Venetian wind instrument makers and their clients. Early
music Vol. XIII/3: 391-97.
A description of a 1559 partnership contract between two instrument makers of the Bassano family and three of the pifferi del Doge, providing background information on the individuals mentioned. The contract, transcribed and translated in full in an appendix, includes a list of available wind instruments, complete with their prices.
Palmer, Kenneth Nicholls (1997). Ceremonial Barges on the River Thames A History of the Barges of the City of London Livery Companies and of the Crown. Published by Unicorn Press, London. ISBN 0 906290 17 1. Includes appendix (No. II) by Jane Palmer on Music in the Barges at the Lord Mayor's Triumphs in the Seventeenth Century, in which she asserts that the City of London Waits did not perform on the water, but only in the land processions and at the banquet. See David Jackson's comments in Notes & Queries
Polk, Keith (1968). Wind bands of medieval Flemish cities. Brass and Woodwind Quarterly. 1.
Polk, Keith (1969). Municipal wind music in Flanders in the late middle ages. Brass
and Woodwind Quarterly. 2.
Polk, Keith (1975). Ensemble instrumental music in Flanders - 1450-1550. Journal of Band Research 11(2): 12-27.
Polk, Keith (1986). Civic patronage and instrumental ensembles in Renaissance Florence. Augsburger Jahrbuch für Musikwissenschaft Vol. III: 51-68.
Until the fall of the republic in 1532, the city of Florence was one of the most important employers of musicians. Sources from the Archivio di Stato in Florence shed light on the development of three different wind ensembles (pifferi, trombetti, trombadori) maintained by the city for official and ceremonial purposes. Singers, lutenists, harpists, and viol players apear occasionally in the 15th c. Although the sources contain no references to string ensembles, which came into fashion after 1490, it is possible that the members of the pifferi also played string instruments when requested.
Polk, Keith (1987). The trombone in archival documents. ITA Journal 25-31.
Polk, Keith (1987). Instrumental music in the urban centres of renaissance Germany. Early Music History. VII: 159-186.
Polk, Keith (1989). The trombone, the slide-trumpet and the ensemble traditon of the early renaissance. Early Music 17(3): 389-397.
Polk, Keith (1989). Vedel and geige - German string traditions in the 15th century. Journal of the American Musicological Society 42(3): 504-546.
Polk, Keith (1990). Voice and instruments, soloists and ensembles in the 15th century. Early Music 18(2): 179-198.
Polk, Keith (1992). German instrumental music of the late middle ages. Cambridge, CUP. ISBN 0 521 38521 0.BIBLIOGRAPHY pp. 252-266 is particularly important.
Polk, Keith (1994). Minstrels and music in the Low Countries in the fifteenth century. Musicology and archival research/Musicologie et recherches en archives/ Musicologie en
archiefonderzoek (Bruxelles: Bibliotheca Regia Belgica, 1994) 392-410. See RILM
1994-01822-bs
Archival documents reveal that courts and cities in the Low Countries vigorously supported instrumental music played by both small, highly skilled ensembles, who were referred to very early as chamber musicians, and by wind bands, which were amply
patronized, especially in the eastern regions. In Flanders wind-band ensembles were
watchmen as well as musicians. The notion of evening concerts, the «lof», evolved ca.
1470 in Flanders.
Polk, Keith (2005) Tielman Susato and the Music of His Time Print Culture, Compositional Technique and Instrumental Music in the Renaissance. BUCINA-THE HISTORIC BRASS SOCIETY SERIES No. 5 Pendragon No.: 581 ISBN: 1-57647-106-3
Prims, F (1936). De Sint-Jobsgilde der speelieden. In: Antwerpiensia. 10, 390-391.
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