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Insights from English and French writers on one of the most significant armed conflicts of the Middle Ages Documentary sources for the Hundred Years War are many and varied, yet given the number that exist, comparatively few have been published, and even fewer translated. The contributors to this volume, celebrating the work of Professor Anne Curry, provide a wide selection of these sources, edited and translated, and accompanied with detailed analysis and commentaries, by experts in the field. They include contracts, inventories, letters of grace, depositions and wills, and shed new light across a range of themes, from recruitment, violence, ransoms and peace, to gunpowder, shipping, dress, and stray horses. An introductory essay gives a wider perspective on the sources for the Hundred Years War, taking a comparative view from both sides of the Channel.

Investigates the reception and performance history of the polyphonic mass in Lutheran Central Europe from ca. 1540-1600. The five-movement polyphonic Mass Ordinary emerged from the cultural and liturgical practices of medieval Roman Catholicism and became the pre-eminent large-scale musical genre of early modern Europe. By the end of the sixteenth century, the polyphonic mass remained a core musical genre among Catholics despite gaining widespread popularity within a new institution fundamentally opposed to the Catholic Church and best known for its cultivation of vernacular liturgical music: the Lutheran church. This book investigates the reception and performance history of the polyphonic mass in Lutheran Central Europe from ca. 1540-1600. Through careful source analysis, this study presents examples of polyphonic masses composed in both Lutheran and Catholic contexts that contradict the conventional conception of the Mass Ordinary as a fixed five-movement cycle with unaltered Latin texts. The book draws on sixteenth-century liturgical documents such as Lutheran church orders and hundreds of primary printed and manuscript sources of polyphonic masses; some of these items are well-known in Renaissance musicology source studies while others have received little to no scholarly attention. The book's findings invite reconsideration of how the Mass Ordinary genre is defined, allow for a discussion whether the polyphonic mass should be considered a bi-confessional genre, and present a cohesive examination of early modern liturgical music in the Germanic and western Slavic regions. It offers interesting reading to scholars and students of European Renaissance and religious music, as well as Reformation studies more generally.

A study of Scottish thinkers and writers in their political and cultural context. The "advancement of learning" was the term used by late seventeenth-century Scots for intellectual enquiry of all kinds. Encouraged by Stuart patronage, and echoing a Royalist ideology of continuity and order following the chaos of the Civil War, the "Virtuosi", Scottish writers and thinkers, sought to define Scotland's identity. They undertook structured, empirical enquiry into Scottish natural history and geography, human history and antiquities, law and society, while the legal and medical professions developed their status and purpose through institutions such as the Royal College of Physicians and the Advocates' Library. They both complemented and eclipsed the changing intellectual life of the Church and Universities. This book considers the work of leading authors, such as Sir George Mackenzie, Sir Robert Sibbald and Lord Stair, alongside the many other voices engaged in learned research and debate, examining their shared or contrasting philosophy and methods. It shows how a distinctively Scottish take on the "Scientific Revolution" was enhanced by close contacts with the Royal Society and English thinkers, and a conscious membership of the European Republic of Letters.

"This series pushes the boundaries of knowledge and develops new trends in approach and understanding." ENGLISH HISTORICAL REVIEW As is appropriate in a volume honouring the distinguished scholarship in this field of Dr Rowena E. Archer, wealthy and influential ladies, most notably Alice Chaucer, duchess of Suffolk, take centre stage, alongside successive queens consort of the period, whose councils helped to implement justice. Alice's almshouse at Ewelme provides a fine example of the many institutions which offered care for the elderly in late medieval England, a period when Henry VII placed great emphasis on the burials of his kinsfolk, particularly in Westminster abbey, to ensure that their memory would endure. Pretenders to the throne of that king and his successor, who included Alice's grandson, bring into focus the riots of 1487 near the borders of Wales and portraits dating from the 1520s. Other themes of language (how Henry V employed English in France), law (the development of the concept of the body corporate) and taxation (levies imposed on imported wine) are added to an intriguing comparison of relations between English administrators and the nobility of Gascony with British imperialists and the princes of India.

The first full-length study of one of the most controversial figures of later fourteenth century England. Robert de Vere was a close friend of the young King Richard II. He was accused of a wide range of political crimes and private vices by his opponents, the Lords Appellant. Defeated by them at the battle of Radcot Bridge in 1387, he died abroad in exile aged only 30. He was, in the eyes of many contemporaries - most notably the hostile chroniclers Walsingham and Froissart - and modern historians, a typical royal favourite: unmartial, immoral, self-seeking, and promoted and enriched far beyond his just desserts. What was a royal favourite, and what were the accusations made against them? This book investigates this question across late medieval England, and assesses de Vere against contemporary criteria. Based on extensive archival research, this book shows there was more to de Vere than a grasping courtier. He had been Earl of Oxford since the age of nine, heir to a large landed estate, and had twice served in foreign wars. He also made a serious attempt to govern the English lordship in Ireland given to him by Richard. The findings here show him to be a far more rounded and complex figure than previously assumed.

Illuminates how the ceremonial dimension of death and the succession reflected both Scottish royal identity and a broader culture of ceremony. To date, scholarly attention to royal ceremony in Scotland from the Middle Ages into the early modern period has been rather haphazard, with few attempts to explore how these crucial moments for the representation of royal authority. This monograph provides a long durée analysis of the ceremonial cycle of death and succession associated with Scottish kingship from the thirteenth to the sixteenth centuries, including the final century of the Canmore dynasty, the crisis of the Bruce-Balliol conflict, and the emergence and consolidation of the Stewart family up to the funeral of last monarch buried in Scotland, James V, in 1543. Using a broad range of primary sources, including financial records and material culture, many of them previously untapped, it addresses key questions about kingship and power, the function of ceremony in legitimising royal authority, its significance in relation to the practical exercising of power, and evidence for Scottish similarities and distinctiveness within wider European contexts.

Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.

Gazetteer of over 500 hundred surviving Scottish Castles. Discover the castles of Scotland, from early "motte and bailey" earthworks and impressive walled enclosures to the many tower houses that dot the landscape. Castles were built in increasing numbers from the 14th to the 17th century, as residences for the Scottish nobility. Some are still proudly occupied; others are well-maintained ruins; many others slowly decay in fields and farmyards. Here, Adrian Pettifer provides a brief account of every Scottish castle to survive in a reasonable state of preservation, including such iconic sites as Edinburgh, Glamis and Cawdor. Each of the more than five hundred main entries provides a brief history and description of a castle, followed by advice on accessibility, sources for further reading and cross-references to related sites. An introduction supplies the historical background, while a glossary covers all aspects of Scottish castles in some detail. Ordnance Survey references are given in the index.

Connects discussions of vocality and operatic culture with broader aesthetic and cultural shifts in society. In the decades that span the turn of the twentieth century, the Italian tradition of operatic singing became 'modern'. This book identifies and explores the formative elements of this multifaceted 'modernity', and its connections with the emergence of verismo, a realistic trend that affected every aspect of creative and intellectual life in fin-de-siècle Italy. Thisnovel approach to artistic representation meant that singers had to redefine the operatic voice, exchanging the bel canto ideal of 'pure' vocal quality with an irreversible gendered connotation and an erotically charged expressive force. Pivotal to this shift was the gradual development of a homogeneous vocal colour through the compass, an aesthetic principle that was alien to the voice culture of the previous centuries. Star singers such as Enrico Caruso, Titta Ruffo, Emma Carelli and Eugenia Burzio were instrumental in this radical transition. The book explores how and why modern singers consciously pursued a new vocal expressivity, illuminating the ways in which the changes they introduced in their vocal techniques yielded novel stylistic gestures, and ultimately shaped operatic culture.Through a comparative analysis of early vocal recordings and late nineteenth- and early twentieth-century vocal methods and drawing on archival research in London, Milan, Rome and Buenos Aires, the book connects discussions of vocality and operatic culture with broader aesthetic and cultural shifts in society. Italian Opera Singing at the Time of Verismo, will be of interest to scholars and students of opera history, performance studies and recording history, as well as voice coaches and professional singers.

A case study of a pioneering musician and an interdisciplinary appraisal of the larger social role of the artist. Dame Evelyn Glennie (b.1965) is the world's first full-time solo multi-percussionist, a sound creator and expert listener whose work continues to expand and diversify the remit of the contemporary performer in the twenty-first century. This book presents the first comprehensive study of Glennie's contribution to the evolution of an eclectic, experimental and fascinating instrumental discipline which wilfully eludes standardization. Glennie's sound journey also resonates in contexts extending beyond the discipline of music. She is a prominent female role model, an entrepreneur, a business and brand, a philanthropist and a profoundly deaf performer who has reframed discourse on what it means to truly listen. This book is both a case study of one pioneering musician and an interdisciplinary appraisal of the larger social role of the artist. An important reference source for percussionists, it is also intended to serve as a means of allowing the interested reader to engage with a medium that has become the heartbeat of contemporary culture.

Argues the case for the individual as autonomous moral agent in the later Middle Ages. "Of fundamental importance for any discipline dealing with past societies and cultures. One of the most wide-ranging, sophisticated and imaginative books on medieval history that I have read in a very long time. The way in which the author defines, traces and analyses agency is stunningly original. It will make an immensely important contribution to our understanding of high and late medieval Europe." Professor Björn Weiler, University of Aberystwyth What did it mean to be an autonomous agent in European medieval society? This book aims to answer that fundamental question, via an examination of a mosaic of case studies drawn from the literate urban middle strata and the lower and middle-rank aristocracy. The social imaginary that informs individual conduct, the patterns of strategic action, and the individuals' sense of effectiveness in the world are reconstructed from "ego-documents", a broad category that includes first-person charters, autobiographical insertions in chronicles, private registers, and memoirs. These range from the better-known, such as the Ménagier de Paris and the histories of Galbert of Bruges and Salimbene of Parma, to the equally fascinating but more seldom explored French livres de raison and Italian ricordanze. The book's larger aim is to historicise the autonomous moral agent. Neither belief in divine intervention nor feudal relations inhibited individuals' social agency. The emphasis on hierarchy and order in medieval normative texts is shown in a different light, as part of the effort to restrain social subalterns, whose potential for agency caused anxiety. Whereas power is often structural, an effect of institutions which, however, were only just developing, the book argues that agency is a more apposite construct for capturing the salient medieval concerns with the possibilities and effects of individual and collective action.