First full monograph to focus entirely on the English-language songs set to music by Byrd. As he grappled with the challenges of composing for various instrumental and vocal ensembles, William Byrd (c. 1540-1623), England's premier Renaissance composer, devoted considerable attention to the poetry and prose of his native language, producing such treasured masterpieces as the hauntingly beautiful "Lulla lullaby"; the infectiously comedic "Though Amarillis dance in green"; and two extraordinarily dramatic Easter anthems. This book, the first full-length study specifically devoted to Byrd's English-texted music, provides a close reading of all of the works he published in the late 1580s, constituting nearly half of his total song output. It delves into the musical, political, literary, and, specifically, the sequential qualities of Byrd's 1588 and 1589 published collections as a whole, revealing, explaining, and interpreting an overall grand narrative, while remaining fully attentive to the particularities of each individual piece. Often deemed "unliterary" and generally considered political only in his approach to Latin texts, which were often of special interest to his fellow Catholics, Byrd was not only an inspiredcomposer who had mastered the challenges of his nation's burgeoning verse, but also one who used his voice in song to foster a more inclusive polity in a time of religious strife. Jeremy L. Smith is Associate Professorof Musicology at the University of Colorado Boulder.

First full monograph to focus entirely on the English-language songs set to music by Byrd. As he grappled with the challenges of composing for various instrumental and vocal ensembles, William Byrd (c. 1540-1623), England's premier Renaissance composer, devoted considerable attention to the poetry and prose of his native language, producing such treasured masterpieces as the hauntingly beautiful "Lulla lullaby"; the infectiously comedic "Though Amarillis dance in green"; and two extraordinarily dramatic Easter anthems. This book, the first full-length study specifically devoted to Byrd's English-texted music, provides a close reading of all of the works he published in the late 1580s, constituting nearly half of his total song output. It delves into the musical, political, literary, and, specifically, the sequential qualities of Byrd's 1588 and 1589 published collections as a whole, revealing, explaining, and interpreting an overall grand narrative, while remaining fully attentive to the particularities of each individual piece. Often deemed "unliterary" and generally considered political only in his approach to Latin texts, which were often of special interest to his fellow Catholics, Byrd was not only an inspiredcomposer who had mastered the challenges of his nation's burgeoning verse, but also one who used his voice in song to foster a more inclusive polity in a time of religious strife.

In the London of Shakespeare and William Byrd, Thomas East was the premier, often exclusive, printer of music. As he tells the story of this influential figure in early English music publishing, Jeremy Smith also offers a vivid overall portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. It provides a truly comprehensive study of music publishing and a new way of understanding the place of musical culture in Elizabethan times. In addition, Smith has compiled the first complete chronology of East's music prints, based on both bibliographical and paper-based evidence.

What did Tallis and Byrd mean to convey by their use of the word "argument" in their title, Cantiones, quae ab argumento sacrae vocantur? Thomas Tallis's and William Byrd's Cantiones, quae ab argumento sacrae vocantur (songs, which by their argument are called sacred) of 1575 is one of the first sets of sacred music printed in England. It is widely recognized as a landmark achievement in English music history. Dedicated to Queen Elizabeth I to mark the seventeenth year of her reign, each composer contributed seventeen motets to the collection, which proved to be greatly influential among the era's composers. But what did Tallis and Byrd mean to convey by their use of the word "argument" in their title? The current view is that they treated their project as an opportunity to pull together a grand compendium of musical accomplishment that drew on the past, but looked to the future, and that the texts functioned as mere vehicles for musical display. In contrast, this book claims that these very texts were chosen by the composers to develop a theme, or argument, on the topic of sacred judgment. In offering a new interpretation of the song collection Smith employs a carefully constructed musical, literary, theological, and political argumentation. The book will encourage new ways of approaching and interpreting Tudor and Elizabethan sacred music.