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English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
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