Printed Sources
	Sacred Music Sources

Cambridge, Fitzwilliam Museum (Cfm)

The “John Bull Manuscript”, also called “Tisdale’s Virginal Book”; a large collection, in several hands, containing containing untexted music à5 (transcriptions of Italian madrigals); songs, ayres, and dialogues; bass parts for songs from Dowland’s First Booke of Songes or Ayres (1597); keyboard music; metrical psalm settings; consort music; and a dialogue (non-musical) concerning religious and moral matters. The manuscript originally belonged to John Bull, but no music is in his hand. Most of the contents were entered ca. 1595-1610; the songs ca. 1620.¹

Cambridge, Magdalen College, Pepys Library (Cmc)

Songs, arranged for bass voice, guitar (in tablature), and figured bass, by Cesare Morelli for Samuel Pepys; ca. 1680. Bound with an edition of Pietro Reggio’s Songs (1680).²

English Song Manuscripts, Top

“Songs & other Compositions Light, Grave, & Sacred, for a Single Voice. Adjusted to the particular compass of mine; with a Thorough-Base on y^e Ghitarr by Cesare Morelli”. Songs, arranged for bass voice, guitar (in tablature), and figured bass, by Cesare Morelli for Samuel Pepys; ca. 1680.³

Carlisle Cathedral, Dean and Chapter Library (CL)

Bassus and Altus part books, ca. 1637, mainly in the hand of Thomas Smith (1614-1701), in 1637 Fellow and Tutor at Queen’s College, Oxford; later Canon (1660), Dean (1671), and Bishop of Carlisle (1684-1701). The books contain two voices of 73 part-songs, mainly in English including a part-song cycle by Richard Nicholson (ca. 1570-1639), first Heyther Professor of Music, Oxford, psalms by Henry Lawes. Each part book also includes some songs for treble and continuo, set out in choir-book layout on facing pages. The Bassus contains some scales and exercises for bass viol. In the Bassus book, in an earlier hand, is written “Roger Smith, his Booke”.⁴

Edinburgh, National Library of Scotland (En)

“M^rs Agnes Hume her book, Anno dom. 1704” (fol. 9v); eight songs (fol. 14v-17v, 8-9) and 4 common psalm tunes, with some Scots tunes for violin added later, and some music for (possibly) guitar (fol. 1-4v).⁵

English Song Manuscripts, Top

Edinburgh, University Library (Eu)

One of three part-books, the companion of Bodleian Library, MS Mus. d. 238, this containing the Cantus I and the bass line of songs in three parts. MS Mus. d. 238 has the Cantus II and bass line. The third part-book is lost. Three leaves of MS Dc.1.69 are now in Birmingham City Reference Library, MS 57316. Both part books are in the hand of Edward Lowe, and date from ca. 1645–1660, or possibly later. This source contains dialogues, songs, and part songs by William Lawes.⁶

Three part-books, the Treble, Tenor, and Bassus of Thomas Wode’s part-books (the “St. Andrews Psalter”), collected ca. 1562/66-1590; companion to E-Dtc MS 412, containing the bass part for some of the songs of that manuscript. The set of part books is completed by Eu MSS DK.5.14 and DK.5.15.⁷

Glasgow, University Library (Euing Music Collection) (Gu)

The Playford Part-Books; part songs, entered ca. 1659-1662.⁸

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London, British Library (Lbl)

“Elizabeth: Rogers hir virginall. booke. Februarye y^e 27: 1656.”⁹ Keyboard music (some with added song lyrics) and songs; the songs are added at the end of the book, inverted, and probably were entered shortly after the ascribed date.¹⁰

A very large collection of songs, entered ca. 1640-1660, in three hands, one probably that of John Hilton. One of the largest collections of mid-seventeenth-century English Song, this book is especially interesting for its written-out embellishments.¹¹

Songs, entered ca. 1675-80, partially in the hand of Matthew Locke (to fol. 15). From fol. 15v the music is entered in a second hand, possibly that of a court musician closely acquainted with John Blow. Two pieces beginning on fol. 19v are attributed to “M^r John Blow”¹² while several items beginning fol. 31v are attributed to “D^r Blow”;¹³ since Blow received his doctorate December 1677, it is probable that these pieces were copied before the end of 1677.¹⁴

“M^r Dobbins Book, Anno Domini, 168²₁”;¹⁵ songs and religious music; middle to late seventeenth century; including works by Blow, Purcell, and Orlando Gibbons.

Madrigals, catches, glees, canons, etc. (including William Lawes, fol. 13, 26, 27v, 36).

Glees, catches, airs, etc.; Italian songs; instrumental pieces (mainly dances); late 18th century; mainly in the hand of Edmund Thomas Warren Horne.

Commonplace book of Edward Lowe, containing English songs and dialogues, entered ca. 1631-1680.¹⁶

English songs and sacred music; late 17th century.

Five part books (C, M, T, Q, B), early seventeenth century.

Glees, catches, rounds, etc.; 19th century.

Anthems, songs, and organ music, collected by Henry Bowman (several composed by him), in English, Latin, and Italian; late 17th century.

Autograph song-book of William Lawes, dating from ca. 1630-1645.¹⁷

Catches and glees by various late 17th-century composers, including Henry Purcell and Blow; also William Lawes. Copied by Edmund Thomas Warren Horne, ca. 1800.

Collection of catches and glees, similar to Add. MS 31,462. Also copied by Edmund Thomas Warren Horne, ca. 1800.

A nineteenth-century collection of eighteenth-century glees, catches, and part-songs, with a few items in an earlier style.

Various compositions in score, including sacred and secular songs, part songs, and larger ensembles; apparently in the hand of Charles Morgan of Magdalen College, Oxford, 1680-after 1687. (On a front end leaf the manuscript is dated by Morgan, 6 December 1682.) The manuscript was later owned by P. Fussell (Organist of Winchester Cathedral), William Patten, and Vincent Novello.¹⁸

Songs and instrumental music, entered after 1690.

Odes, dialogues, songs, and some treble parts for instrumental music; ca. 1695-1697.

Henry Lawes’s autograph song-book; the 326 pieces were entered approximately in chronological order (except for individual pieces added at the bottom of pages), over a series of years, from before 1626 to 1652 (or perhaps 1662). Many of songs are collected into groups set to poems by a single poet. The manuscript contains almost all of Henry Lawes’ solo songs. During part of the eighteenth century it was in the possession of William Gostling. In 1777 it was sold to Sir John Hawkins.²⁰

Songs (voice and bass) and music for lyra viol; ca. 1620.²¹

A collection of lyra viol music in tablature, entered from both ends of the manuscript (reverse end inverted); in addition the manuscript contains keyboard pieces, several songs and other vocal music (some with thoroughbass, others arranged for keyboard with lyrics between the staves), and a few instrumental trebles. The lyra viol music includes dances and other short named pieces.

73 songs, many copied prior to 1644, some with tablature. It is probably the collection of an amateur, as there are many errors and inaccuracies.²²

Arias, some with strings, cantatas, duets with thoroughbass; in the hand of Humphrey Wanley, after 1699. Composers include Domenico Gabrielli, Bernardo Pasquini, Giovanni Bononcini, Bernardo Pasquini, Alessandro Scarlatti, and Luigi Rossi.²³

Songs, duets, one part song, and motets, 1678-1686; copied in London by Pietro Reggio for Monsieur Didie: “Scritto a’ richesta di Monsieur Didie / In Londra. Anno Domini. 1681. / Pietro Reggio.” (fol. 71v). Composers include Reggio, Luigi Rossi, Giacomo Carissimi, Cesti, Barbara Strozzi, Cavalli, and Cassati.²⁴

Trebles of 6 psalms (Sternhold and Hopkins versions) and of 26 songs in English, Italian, and French; late seventeenth century; some sol-fa excercises at the end (inverted).

English Song Manuscripts, Top

London, Lambeth Palace Library (Llp)

Song-book of “The Lady Ann Blount” (fol. 1). 36 English, French, and Italian songs with tablature, entered from ca. 1645 to ca. 1670; those songs with tablature are probably earlier (before 1655) than the others. The manuscript is in three different hands; the earliest probably is that of Charles Coleman. Composers include Charles Coleman, Nicholas Lanier, Henry Lawes, William Lawes, Matthew Locke, Alphonso Marsh, and Edward Coleman.²⁵

London, Royal College of Music Library

Hilton’s Catch That Catch Can (1652) with manuscript additions bound in at the end, apparently copied from Catch That Catch Can (1667); from the collection of William Gostling.²⁶

Madrigals, glees, catches, and other part songs, in the hand of William Henry Husk; nineteenth-century. Contains the catches: “Drink tonight of the moonshine bright” (fol. 93v) and “Great Tom is cast” (fol. 126v).²⁷

“Illustrations to Lectures on English Opera. First Series.” Part of a set of nineteenth-century manuscripts (MSS 2098–2117) containing musical examples for lectures on various topics, mainly in the hand of Edward Taylor. MS 2102 contains items from The Triumph of Peace and Triumphs of the Prince d’Amour, copied from Ob MS Mus. Sch. B. 2, with alterations.²⁸

Oxford, Bodleian Library (Ob)

Large folio, mainly empty, containing twelve solo songs and three psalms with tablature, ca. 1660–1663. Most of the items are in the hand of Charles Coleman, whose signature is at the end of the song “Blest be thos powers” (fol. 8v–9). No other item is attributed, but several songs may be identified as the work of Henry Lawes (4), William Lawes (1), and Nicholas Lanier (2).²⁹

A miscellaneous collection of songs, dialogues, and “scurrilous verse and other notes” (ca. 1625-ca. 1800). Around 1800, horticultural information was written over the original contents in a heavier ink.³⁰

Catches, late seventeenth century.

English Song Manuscripts, Top

A large collection, ca. 1650–1655, of music for solo theorbo (fol. 1v–12v) and 226 songs by John Wilson. The manuscript is in two hands, mainly that of Edward Lowe, with the second hand being Wilson’s, who added corrections and alterations.³¹ It is almost certain that the collection was compiled under Wilson’s direction.³² The gold tooling on the cover includes the letters: “DR. I . W”, that must refer to Wilson. The pieces for theorbo are 30 "Preludes" in every major and minor chromatic key. Several songs in the later part of the manuscript have tablature for theorbo in Wilson’s hand.³³ Much of the manuscript is ruled with five-line staves for the vocal lines, with six-line staves underneath, suggesting that the original intention was to provide tablature for many of the songs.³⁴ Many songs are settings of lyrics from plays by Beaumont and Fletcher. The songs include 30 settings of Latin verse by Horace and others. According to Anthony Wood, the manuscript originally began with poems by others in praise of Wilson’s work. These poems are no longer in the manuscript.³⁵ Originally the book had the catalogue number 102 (referred to by Wood, and listed in the 1697 Catalogi librorum manuscriptorum).³⁶ [G.J. Callon is presently preparing a critical edition for publication of John Wilson, Complete Music, including all the music in this manuscript.]

Glees and part-songs in the hand of Philip Hayes (1738-1797), entered ca. 1763-1797.³⁷

One of three part-books, this containing “the 2^d Treble” or “Cantus 2^dus” and bass line; in the hand of Edward Lowe; entered ca. 1645-1660. Its companion, Edinburgh University Library, MS Dc.1.69, contains the first treble and bass line. The bass part-book is lost.³⁸

Part books (quintus, altus, tenor, bassus, and cantus), with “English & Latin songs” (mainly sacred), by composers of the late sixteenth- and early seventeenth-centuries. The books were copied by Thomas Hamond (of Hawkedon, Suffolk), mainly ca. 1656, and contain dates from 1641-1660.⁴⁰

William Lawes’ autograph, stamped with the Royal Arms, and the initials W.L. The manuscript contains miscellaneous instrumental works, masque music, vocal music, etc. The part songs in this source are crossed out and some have missing leaves; the appearance of the part songs suggests that Lawes copied these into another manuscript, now lost. Fortunately, the items crossed out in this manuscript are still legible (though those on pages removed are lost). It has been suggested that this manuscript, along with MS Mus. Sch. b. 3, was presented to the Oxford Music School by Henry Lawes.⁴¹

William Lawes’s autograph.

English, Italian, and Latin sacred songs in several hands; mid-seventeenth century.⁴²

One of a set of three part-books with music in tablature and in staff notation for viols, and for lyra viol. It also contains one song for voice and bass (continuo), a variant of Lanier’s “Fire, fire” (fol. 55av). Copied by John Merro (d.1639) during the years 1620-39; Lanier’s song was probably entered before 1633. This is number 10 of a group of ten books given to Christ Church by William Iles in 1673.⁴³

A mixed collection, copied by Edward Lowe, ca. 1636-1682. Contents include: thorough bass part book of instrumental chamber music and vocal music in English and Latin; canons by William Lawes, and psalms à3 (in table-book layout, lacking continuo) by William Lawes and by Henry Lawes. Several of the psalmes are incomplete or show extreme variants suggesting that these (or the versions in Choice Psalmes, 1648) are reworkings—these may represent earlier versions.⁴⁴

No. 7 of William Iles’ set of books given to Christ Church in 1673; mainly lyra viol music in tablature; also keyboard music by Orlando Gibbons; and ten songs (entered ca. 1630).⁴⁵

English Song Manuscripts, Top

Oxford, Christ Church (Och)

Instrumental and vocal music by C. Gibbons, Locke, Rovetta, Palestrina, and anon.⁴⁶

Songs and part-songs in English and Italian, in the hands of Edward Lowe and of Dr. Henry Aldrich; late seventeenth century. This manuscript is a companion to Mus. MS 18.⁴⁷

A companion volume to Music MS 17, in the hand of Dr. Henry Aldrich.⁴⁸

English and Latin songs, by English and Italian composers, and fragments of instrumental music; in the hand of Dr. Aldrich.⁴⁹

English and Latin songs and instrumental music, partly in the hand of Dr. Henry Aldrich.⁵⁰

A collection of twenty-four solo songs, collected no later than 1624. On the last page is written (inverted): “M^ris Elizabeth Dauenant 1624”; on folio 1: “Kath: Low May y^e 6^th 1663 began my excerpts Tue May y^e 5^th”.⁵¹

Possibly autograph manuscript of Kremberg: two songs, “Aurelia has sweet charms” and “Lavinia has majestic charms”.⁵²

Bass part book with a few treble parts toward the end of the manuscript, as well as some songs for voice with continuo; music by several composers, including Jenkins, W. Lawes, and Colman.⁵³

Ireland (E):

Dublin, Trinity College (Dtc)

The Quintus of Thomas Wode’s part-books (the “St. Andrews Psalter”), collected ca. 1562/66-1590, with the treble of some songs added ca. 1615-1620, and some catches from Pammelia (1609). The bass part for some of the songs is bound in with Wode’s Psalter in Edinburgh University Library, MS LA.III.483. There appears to be some close connection between this manuscript and other sources, including: the “John Bull Manuscript”, Fitzwilliam Museum MUMS 782 (formerly MS.52.D), Tenbury MS 1018, the Edinburgh “Leyden Manuscript”, and Forbes’ Songs and Fancies, indicating a common Scottish provenance.⁵⁴

English Song Manuscripts, Top

France (F):

Paris, Bibliothèque du Conservatoire (Pc)

Song-book, “Glees to H. Lawes and Playford”; in the hand of John Playford; ca. 1660. The manuscript was probably much larger originally. Includes 29 items by Henry Lawes, 12 by John Playford, 5 by John Wilson, and smaller numbers by several other composers.⁵⁵

Los Angeles, The William Andrews Clark Memorial Library (LAuc)

Collection of solo songs with unfigured bass, two instrumental duos, and two part-song fragments, dated “June the ffirst 1639”; composers include Henry Lawes and William Lawes.⁵⁶

Two part-books, Treble and Contra-tenor, of a set originally of five (2 trebles, contra-tenor, tenor, and bass). The bass part-book survives: Ckc Rowe MS 321. Instrumental and vocal music, including Latin motets, part-songs, Cries of London, Fantasias à5. Composers include Richard Dering, Thomas Lupo, Orlando Gibbons, John Coprario.

English Song Manuscripts, Top

New York Public Library (NYp)

Songs, possibly in the hand of John Atkins, collected ca. 1640-1650; a good source of theatre songs. It is apparently related to Drexel MS 4257 and possibly also may have belonged to John Gamble.⁵⁷

“Anne Twice her booke”;⁵⁸ mid-seventeenth century English songs; about half of the manuscript is lost, only 28 items surviving of 59 listed in the table of contents.⁵⁹

“John Gamble his booke amen 1659 ano domine.”⁶⁰ Probably the largest surviving collection of songs of the mid-seventeenth century, collected from ca. 1630 to after 1660 (most before 1650). The manuscript is in three hands; two of these are probably of Ambrose Beeland and John Gamble.⁶¹

Printed Sources:
For printed song books containing the same repertoire, a thorough and extensive chronological bibliography, with multiple indexes, is:

• Day, Cyrus Lawrence, and Eleanore Boswell Murrie. English Song-Books, 1651-1702: A Bibliography with a First-Line Index of Songs. London: Printed for the Bibliographical Society at the University Press, Oxford, 1940 (for 1937).

Sacred Music:
For manuscript and printed sources containing Sacred Vocal Music in English, 1549-1660, a thorough and extensive chronological bibliography, with multiple indexes, is:

• Daniel, Ralph T., and Peter Le Huray. The Sources of English Church Music 1549-1660. 2 parts. (Early English Church Music, Supplementary Volume.) London: Stainer and Bell, for The British Academy, 1972.

English Song Manuscripts, Top

Notes

1. See Thurston Dart, “New Sources of Virginal Music,” Music and Letters, XXXV (1954), 103-105; Alan Brown (editor), Tisdale’s Virginal Book (London: Stainer & Bell, Ltd., 1966), p. 45; Ian Spink, “Sources of English Song, 1620-1660: A Survey,” Miscellanea Musicologica: Adelaide Studies in Musicology, I (1966), 134; Iain Fenlon, “Fitzwilliam Museum, MS Mu 782: ‘The Bull Manuscript’,” in Cambridge Music Manuscripts, 900-1700, Edited by Iain Fenlon. Published to coincide with an exhibition held at the Fitzwilliam Museum in July and August 1982 (Cambridge: Cambridge University Press, 1982), pp. 146-149.
2. See William Barclay Squire, “A List of Music Manuscripts in the Pepys Library,” Unpublished bound typescript (Cambridge: Magdalen College, Pepys Library, [n.d.]), pp. 14, 25, 27, 28; Ian Spink, English Song, Dowland to Purcell, (London: B.T. Batsford Ltd., 1974), p. 206; Richard Ollard, Pepys: A Biography (London: Pan Books, 1977), pp. 250, 264; Gloria Rose, “Pietro Reggio-A Wandering Musician,” Music and Letters, XLVI (1965), 211-213; MacDonald Emslie, “Pepys’s Songs and Songbooks in the Diary Period,” The Library, fifth series, XII (1957), 241-243, 246; J.[ack] A.[llan] Westrup, “Foreign Musicians in Stuart England,” Musical Quarterly, XXVII (1941), 84.
3. See Squire, “A List of Music Manuscripts in the Pepys Library,” pp. 14, 25, 27, 28; Spink, English Song, Dowland to Purcell, p. 206; Ollard, Pepys, pp. 250, 264; Rose, “Pietro Reggio,” pp. 211-213; Emslie, “Pepys’s Songs and Songbooks,” pp. 241-243, 246; Westrup, “Foreign Musicians in Stuart England,” p. 84.
4. James Walter Brown, “An Elizabethan Song-Cycle,” Cornhill Magazine, new series, no. 287 (May 1920), 572-579; and see Andrew J. Sabol (editor), Four Hundred Songs and Dances from the Stuart Masque (Providence, Rhode Island: Brown University Press, 1978; Reprint, revised, With a Supplement of Sixteen Additional Pieces. Hanover: University Press of New England, for Brown University Press, 1982), p. 626.
5. See Spink, English Song, Dowland to Purcell, p. 273; National Library of Scotland. Summary Catalogue of the Advocates’ Manuscripts (Edinburgh: Her Majesty’s Stationery Office, 1971), p. 113 (no. 1472); Edinburgh, National Library of Scotland, “Catalogue of Advocates’ MSS (Those acquired before 6 Oct. 1925),” Typescript and Manuscript (In the South Library, National Library of Scotland, Edinburgh, [n.d.]). 3 vols. + index (multivolumed), I, no. 5.2.17.
6. See John P. Cutts, “Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music MS. Dc.1.69.,” Musica Disciplina, XIII (1959), 169-194; Peter Walls, “New Light on Songs by William Lawes and John Wilson,” Music and Letters, LVII n1 (January, 1976), 55-64; Mary Chan, “Edward Lowe’s Manuscript British Library Add. MS 29396: The Case for Redating,” Music and Letters, LIX n4 (1978), 441-442; Spink, “Sources of English Song,” p. 132; Spink (ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 273; Elise Bickford Jorgens, “Introduction,” in Edinburgh University Library Manuscript (English Song, 1600-1675: Facsimiles of Twenty-six Manuscripts and an Edition of the Texts. 12 vols. (New York: Garland Publishing, Inc., 1986-88), Vol. VIII), v-vi.
7. See H.S.P. Hutchison, “The St. Andrews Psalter: Transcription and Critical Study of Thomas Wode’s Psalter.” Mus. Doc. Thesis, University of Edinburgh, 1957.
8. See Ian Spink, “The Old Jewry ‘Music-Society’: A 17th-Century Catch Club,” Musicology, II (1967), 35-39, 41; Spink, “Sources of English Song,” p. 134.
9. Add. MS 10,337, fol. 1v.
10. See John Caldwell, English Keyboard Music before the Nineteenth Century (Oxford: Basil Blackwell, 1973), pp. 152-155; George Sargent, “An Edition of Elizabeth Rogers’ Virginal Book (British Museum Add. MS. 10337).” (PhD. Dissertation, Indiana University, 1965), passim; Charles J.F. Cofone (editor), Elizabeth Rogers Hir Virginall Booke (New York: Dover Publications, Inc., 1975), passim; Spink, “Sources of English Song, 1620-1660,” 131; Ian Spink (editor), English Songs, 1625-1660 (Musica Britannica, Vol. XXXIII; London: Stainer and Bell Ltd. for the Royal Musical Association, 1971), p. 190; Spink, English Song, Dowland to Purcell, p. 273; Jorgens, “Introduction,” in British Library Manuscripts, Part II (English Song, 1600-1675, Vol. II), v.
11. See Mary Chan, “John Hilton’s Manuscript, British Library Add. MS 11608,” Music and Letters, LX (1979), 440-449; James C.[harles] B.[aruch] Fogle, “Seventeenth-Century English Vocal Music as Reflected in British Library Additional Manuscript 11608.” (PhD. Dissertation, University of North Carolina at Chapel Hill, 1979), pp. 11-18; Spink, “Sources of English Song,” p. 131; Spink (ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 273; Jorgens, “Introduction,” in British Library Manuscripts, Part IV (English Song, 1600-1675, Vol. IV), v-vi.
12. Lbl Add. MS 14,399 fol. 20, 22.
13. Lbl Add. MS 14,399 fol. 34, 36, 38v, 41, 43.
14. I am grateful to Peter Holman for bringing this information concerning Add. MS 14,399 to my attention.
15. Add. MS 22,100, fol. 150v, inverted. In the course of the manuscript later dates are also found.
16. Chan, “Edward Lowe’s Manuscript,” 440-454; and see Spink, “Sources of English Song, 1620-1660,” 131; Spink (ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 273; Jorgens, “Introduction,” in British Library Manuscripts, Part V (English Song, 1600-1675, Vol. V), v-vi.
17. See William Lawes, Collected Vocal Music, Edited by Gordon J. Callon, 4 vols. (Recent Researches in the Music of the Baroque Era, 120–123) (Middleton, WI: A-R Editions, Inc., 2002) [Edition of the complete vocal music of William Lawes (1602–1645)], Vol. I; Murray Lefkowitz, William Lawes (London: Routledge and Kegan Paul, 1960), pp. 30-31, 137, 158-159; Margaret C. Crum, “Notes on the Texts of William Lawes’s Songs in B.M. MS. Add. 31432,” The Library, fifth series, IX no. 2 (1954), 122-127; John P. Cutts, “British Museum Additional MS. 31432: William Lawes’ Writing for the Theatre and the Court,” The Library, fifth series, VII no. 4 (1952), 225-234; Spink, “Sources of English Song, 1620-1660,” 130; Spink (ed.), English Songs, 1625-1660, p. 189; Spink, English Song, Dowland to Purcell, p. 271; Eric Ford Hart, “Caroline Lyrics and Contemporary Song-Books,” The Library, fifth series, VIII no. 2 (1953), 92-93, 100n; Jorgens, “Introduction,” in British Library Manuscripts, Part II (English Song, 1600-1675, Vol. II), vi-vii.
18. Augustus Hughes-Hughes, Catalogue of Manuscript Music in the British Museum (3 vols. London: The Trustees of the British Museum, 1906, 1908, 1909), I 28, 216, 245, 286-287, 428, II 13, 56, 154, 210, 229, 452, 480-481, 649, III 387.
19. Previously Lbl Loan MS 35.
20. See Pamela J. Willetts, The Henry Lawes Manuscript (London: Trustees of the British Museum, 1969), passim; Jorgens, “Introduction,” in English Song, 1600-1675, Vol. 3, British Library Manuscripts, Part III: Add. Ms. 53723 (Henry Lawes’s Autograph), pp. v-vi; Willa McClung Evans, Henry Lawes: Musician and Friend of Poets (New York: The Modern Language Association of America, 1941; Reprint: New York: Kraus Reprint Corporation, 1966), pp. 235-236; Hart, “Caroline Lyrics and Contemporary Song-books,” 89-110; Eric Ford Hart, “An Introduction to Henry Lawes,” Music and Letters, XXXII (1951), 217-225, 328-344; Spink, “Sources of English Song, 1620-1660,” 130; R.J. McGrady, “Henry Lawes and the Concept of ‘Just Note and Accent’,” Music and Letters, L (1969), 87–90.
21. See Pamela J. Willetts, “Silvanus Stirrop’s Book,” R.M.A. Research Chronicle, X (1972), 101-107.
22. See Spink, “Sources of English Song, 1620-1660,” 130-131; Spink (ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 272; Robert Spencer, “Chitarrone, Theorbo and Archlute,” Early Music, IV (1976), 420 n. 20; Jorgens, “Introduction,” in British Library Manuscripts, Part II (English Song, 1600-1675, Vol. II), v-vi.
23. Augustus Hughes-Hughes, Catalogue of Manuscript Music in the British Museum (3 vols. London: The Trustees of the British Museum, 1906, 1908, 1909), II 58, 233, 490-491.
24. Augustus Hughes-Hughes, Catalogue of Manuscript Music in the British Museum (3 vols. London: The Trustees of the British Museum, 1906, 1908, 1909), I 287, 428, II 56, 155, 229, 481-482.
25. See Gordon James Callon (editor), Songs with Theorbo (ca. 1650-1663): Oxford, Bodleian Library, Broxbourne 84.9, London, Lambeth Palace Library, 1041 (Recent Researches in the Music of the Baroque Era, 105. Madison: A-R Editions, Inc., 2000); “Songs with Theorbo by Charles Colman and his Contemporaries in Oxford, Bodleian Library MS Broxbourne 84.9 and London, Lambeth Palace Library MS 1041,” Journal of the Lute Society of America, XXIV (1991), pp. 15-51; Spink, “Sources of English Song, 1620-1660,” 131; Spink(ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 272.
26. See William BarclaySquire, “Catalogue of the Manuscripts in the Royal College of Music,” With additions by Rupert Erlebach. 3 vols. (Unpublished typescript, Royal College of Music Library, London. 1931), II, 560-563.
27. See Squire, “Catalogue of the Manuscripts in the Royal College of Music,” I, 341-344.
28. See Squire, “Catalogue of the Manuscripts in the Royal College of Music,” II, 428-430.
29. For information concerning the physical characteristics of the manuscript and its provenance, see Howard M. Nixon, Broxbourne Library: Styles and Designs of Bookbindings from the Twelfth to the Twentieth Century. With an Introduction by Albert Ehrman (London: Maggs Brothers, for The Broxbourne Library, 1956), pp. 141-143. For an edition of this manuscript, see Songs with Theorbo (ca. 1650–1663): Oxford, Bodleian Library, Broxbourne 84.9, London, Lambeth Palace Library, 1041. Edited by Gordon J. Callon (Recent Researches in the Music of the Baroque Era, 105. Madison: A-R Editions, Inc., 2000). See also Gordon J. Callon, “Songs with Theorbo by Charles Colman and his Contemporaries in Oxford, Bodleian Library MS Broxbourne 84.9 and London, Lambeth Palace Library MS 1041,” Journal of the Lute Society of America, XXIV (1991), pp. 15-51.
30. See John P. Cutts, “A Bodleian Song-Book: Don. C.57,” Music and Letters, XXXIV (1953), 192-211; G.A. Thewlis, “Some Notes on a Bodleian Manuscript,” Music and Letters, XXII (1941), 32-35; Edmund H. Fellowes (editor), Songs & Lyrics from the Plays of Beaumont and Fletcher; with Contemporary Musical Settings (London: Frederick Etchells & Hugh Mac Donald, 1928), pp. 43ff; Spink, “Sources of English Song, 1620-1660,” 133; Spink (ed.), English Songs, 1625-1660, p. 189; Spink, English Song, Dowland to Purcell, p. 272; Spencer, “Chitarrone, Theorbo and Archlute,” p. 420 n. 20; Jorgens, “Introduction,” in Manuscripts at Oxford, Part I (English Song, 1600-1675, Vol. VI), viii-ix.
31. Margaret Crum, “Bibliographical Notes: A Manuscript of John Wilson’s Songs,” The Library, Fifth Series, X 1 (March 1955), p. 55.
32. John P. Cutts, “Seventeenth-Century Lyrics: Oxford Bodleian MS. Mus. B. 1,” Musica Disciplina, X (1956), p. 144.
33. Margaret Crum, “Bibliographical Notes: A Manuscript of John Wilson’s Songs,” The Library, Fifth Series, X 1 (March 1955), p. 56.
34. See Margaret Crum, “Bibliographical Notes: A Manuscript of John Wilson’s Songs,” The Library, Fifth Series, X 1 (March 1955), p. 57.
35. One poem survives, Henry Birkhead, Poemata in Elegiaca, Iambica, Polymetra, Antitechnemata et Metaphrases (Oxonii, 1656), pp. 122–125, “On Dr. John Wilson, the most admir’d Musition.” See John P. Cutts, “Seventeenth-Century Lyrics: Oxford Bodleian MS. Mus. B. 1,” Musica Disciplina, X (1956), p. 143.
36. Anthony Wood, Fasti Oxonienses, Ob MS Rawl. B. 121, fol. 4v; Wood, Fasti, ed. Bliss (1815), II 71–72; Falconer Madan and H.H.E. Craster, A Summary Catalogue of Western Manuscripts in the Bodleian Library at Oxford which have not hitherto been Catalogued in the Quarto Series with References to the Oriental and Other Manuscripts, 7 vols. (Oxford: Clarendon Press, 1922) , no. 2885, Vol. II Part 1, pp. 546–547; John P. Cutts, “Seventeenth-Century Lyrics: Oxford Bodleian MS. Mus. B. 1,” Musica Disciplina, X (1956), pp. 142–209; Margaret Crum, “Bibliographical Notes: A Manuscript of John Wilson’s Songs,” The Library, Fifth Series, X 1 (March 1955), pp. 55–57; Vincent Duckles, “The ‘Curious Art’ of John Wilson (1595-1674),” Journal of the American Musicological Society, VII (1954), 93-112; Mary Hobbs, “John Wilson’s Literary Sources,” Lute Society Journal, XVII (1975), 6-16; Jorgens, “Introduction,” in Manuscripts at Oxford, Part II (English Song, 1600-1675, Vol. VII), vi-viii.
37. Falconer Madan [et al.], A Summary Catalogue of Western Manuscripts in the Bodleian Library at Oxford which have not hitherto been catalogued in the Quarto Series, with references to the oriental and other manuscripts. 7 vols. (Oxford: Clarendon Press, 1895-1953), IV, no. 16684; with annotations in the copy in the Duke Humphrey Library of the Bodleian Library, Shelfmark R.6.15/5.
38. Chan, “Edward Lowe’s Manuscript,” pp. 441-442; Walls, “New Light on Songs by William Lawes and John Wilson,” pp. 55-64; Cutts, “Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music MS. Dc.1.69,” pp. 169-194; Margaret C. Crum, “A Manuscript of John Wilson’s Songs,” The Library, 5th Series, X n1 (1955), 55-57.
39. Madan [et al.]. A Summary Catalogue, no. 16835-16837.
40. Peter Le Huray, Music and the Reformation in England, 1549-1660 (London: Herbert Jenkins, 1967), p. 100; Ralph T. Daniel and Peter Le Huray, The Sources of English Church Music 1549-1660. 2 parts. (Early English Church Music, Supplementary Volume. London: Stainer and Bell, for The British Academy, 1972), I, 6.
41. Madan [et al.]. A Summary Catalogue, no. 26415; Margaret C. Crum, “Early Lists of the Oxford Music School Collection,” Music and Letters, XLVIII (1967), 23-24; David Pinto (editor), “The Sources,” in William Lawes, Consort Sets in Five and Six Parts (London: Faber Music Ltd., 1979), p. xiii.
42. See Catalogue of Music Belonging to the Music School 1854, Manuscript; Duke Humphrey Library, Bodleian Library, Shelfmark R.6.164, VII, MS. Mus. Sch. c. 11; Madan [et al.], A Summary Catalogue of Western Manuscripts in the Bodleian Library, V, no. 26267.
43. MS Mus. Sch. d. 247, fol. 2-2v. See John Evan Sawyer, “An Anthology of Lyra Viol Music in Oxford, Bodleian Library, Manuscripts Music School d245-7.” 2 vols. (PhD. Dissertation, University of Toronto, 1972), passim, especially pp. 2-25.
44. Chan, “Edward Lowe’s Manuscript,” pp. 441n, 445; Daniel and Le Huray, The Sources of English Church Music, I, 5; Madan [et al.]. A Summary Catalogue, no. 26597.
45. See Sawyer, “An Anthology of Lyra Viol Music in Oxford,” I, 25; Jorgens, “Introduction,” in Manuscripts at Oxford, Part I (English Song, 1600-1675, Vol. VI), vi-viii.
46. Roger Bray (compiler), The Music Collection of Christ Church Oxford: A Listing and Guide to Part One of the Harvester Microfilm Collection (Brighton: Harvester Microform, 1981), p. 17.
47. Chan, “Edward Lowe’s Manuscript,” p. 441n; G.[odfrey] E.P. Arkwright (editor), Catalogue of Music in the Library of Christ Church Oxford. With a Preface by T.B. Strong. 2 Parts (London: Oxford University Press, 1915 and 1923), II, 9-14.
48. See Arkwright (ed.), Catalogue of Music in the Library of Christ Church Oxford, II, 14-16.
49. Arkwright (ed.), Catalogue of Music in the Library of Christ Church, Oxford, II, ii, 19.
50. Arkwright (ed.), Catalogue of Music in the Library of Christ Church, Oxford, II, ii, 21.
51. See John P. Cutts, “‘M^ris Elizabeth Davenant 1624’; Christ Church MS. Mus. 87,” Review of English Studies, new series, X no. 37 (1959), 26-37; Arkwright (ed.), Catalogue of Music in the Library of Christ Church, Oxford, pp. 44-47; Spink, “Sources of English Song,” p. 134; Vincent Duckles, “ ‘John Gamble’s Commonplace Book’: A Critical Edition of Drexel MS 4257 in the New York Public Library.” (PhD. Dissertation, University of California, Berkeley, 1953), p. 46; Jorgens, “Introduction,” in Manuscripts at Oxford, Part II (English Song, 1600-1675, Vol. VII), v-vi.
52. Roger Bray (compiler), The Music Collection of Christ Church, Oxford, Part Two: A Listing and Guide to Part Two of the Harvester Microfilm Collection (Brighton: Harvester Microform, 1981), p. 33.
53. Bray (compiler), The Music Collection of Christ Church, Oxford, Part Two, p. 50.
54. See Helena Mennie Shire, Song, Dance and Poetry of the Court of Scotland under King James VI, Musical illustrations of Court-song edited by Kenneth Elliott (Cambridge: University Press, 1969), pp. 23-25, 266; Spink, English Song, Dowland to Purcell, p. 272; Spink, “Sources of English Song, 1620-1660,” pp. 132-133; Spink (ed.), English Songs, 1625-1660, p. 189; T.K. Abbott (compiler), Catalogue of the Manuscripts in the Library of Trinity College, Dublin, to which is added a list of the Fagel Collection of Maps in the same library (Dublin: Hodges, Figgis, & Co., 1900), no. 412. See also Hutchison, “The St. Andrews Psalter”.
55. John P. Cutts, “Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489,” Musica Disciplina, XXIII (1969), 117-139.
56. See Richard Charteris, “Four Caroline Part-Books,” Music and Letters, LIV (1973), 49-51.
57. See John P. Cutts, “Drexel Manuscript 4041,” Musica Disciplina , XVIII (1964), 151-202; John P. Cutts, “A John Payne Collier Unfabricated ‘Fabrication’,” Notes and Queries, new series, VI (1959), pp. 104-106; Spink, “Sources of English Song, 1620-1660,” 135; Spink (ed.), English Songs, 1625-1660, p. 189; Spink, English Song, Dowland to Purcell, p. 272; Duckles, “John Gamble’s Commonplace Book,” p. 44.
58. Drexel MS 4175, outside front cover.
59. See John P. Cutts, “‘Songs Vnto the Violl and Lute’-Drexel MS. 4175,” Musica Disciplina, XVI (1962), 73-92; Cutts, “M^ris Elizabeth Davenant 1624,” p. 27; Spink, English Song, Dowland to Purcell, p. 272; Spink (ed.), English Songs, 1625-1660, p. 189; Ian Spink, “Ann Twice, Her Booke,” The Musical Times, CIII (1962), p. 316; Jorgens, “Introduction,” in Miscellaneous Manuscripts (English Song, 1600-1675, Vol. XI), vii-viii.
60. Drexel MS 4257, fol. 1v.
61. See Jorgens, “Introduction,” in English Song, 1600-1675, Vol. 10, New York Public Library Manuscripts, Part II: Drexel Ms. 4257 (John Gamble, “His booke, amen 1659”), pp. v-vi; John P. Cutts, “Drexel Manuscript 4041,” Musica Disciplina, XVIII (1964), 151-202; Charles W. Hughes, “John Gamble’s Commonplace Book,” Music and Letters, XXVI (1945), 215-229; Vincent Duckles, “The Gamble Manuscript as a Source of Continuo Song in England,” Journal of the American Musicological Society, I no. 2 (1948), 23-40; Duckles, “John Gamble’s Commonplace Book,” passim; Spink, “Sources of English Song, 1620-1660,” 135; Spink (ed.), English Songs, 1625-1660, p. 190; Spink, English Song, Dowland to Purcell, p. 273.

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