John Milsom's selection of 17 of Tallis's shorter anthems and motets includes new editions by Alan Brown and Jason Smart as well as many by himself. The collection is designed to give singers and students alike a useful cross-section of Tallis's output, and includes some of his best-known pieces (freshly edited or revised) together with others that are less familiar. All have general-purpose texts. Critical commentaries are included for each piece, and there is an introduction by the editor.

Salvator Mundi, is suitable for SAATB and optional organ.

O Lord, Give Thy Holy Spirit, is suitable for unaccompanied SATB.

Rorate Caeli Desuper, is suitable for unaccompanied SATB.

Ave Maria, is suitable for SATB unaccompanied.

The author of this history of mankind's increasingly successful attempts to understand, to measure and to map the Earth's gravity field (commonly known as 'little g' or just 'g') has been following in the footsteps of the pioneers, intermittently and with a variety of objectives, for more than fifty years. It is a story that begins with Galileo's early experiments with pendulums and falling bodies, progresses through the conflicts between Hooke and Newton and culminates in the measurements that are now being made from aircraft and satellites. The spectacular increases in accuracy that have been achieved during this period provide the context, but the main focus is on the people, many of whom were notable eccentrics. Also covered are the reasons WHY these people thought their measurements would be useful, with emphasis in the later chapters on the place of 'g' in today's applied geology, and on the ways in which it is providing new and spectacular visions of our planet. It is also, in part, a personal memoir that explores the parallels between the way fieldwork is being done now and the difficulties that accompanied its execution in the past. Selected topics in the mathematics of 'g' are discussed in a series of short Codas.

Come Let's Rejoice, is suitable for unaccompanied SATB.

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.