An Early Seventeenth-Century Book of English Organ Music for the Roman Rite

"Equal to All Alike": A Cultural History of the Viol Consort in England, c.1550-1675

“…77 White's duets, I believe, are crafted to allow their participants to enjoy a complexly staged male friendship, one that partakes of pleasure and intimacy but that offers various strategies through which its players can regulate the quality and connotation of their relationships. Specifically, a musically figured "equality" 77 Bray,Homosexuality in Renaissance England,62. regulates the power/pleasure/intimacy that the partwriting offers the players.…”

“…76 He is precisely the type that moralists like William Prynne would condemn for his "lascivious, amorous, effeminate, voluptuous Musicke" and epitomizes, in all likelihood, all that the morality plays were supposed to train out of their choristers. 77 Certainly Panthea's passionately grief--stricken song, sung on stage by one prepubescent boy to another, would have excited moralist concern not just for the choristers themselves but for those on the other side of the footlights as well. As Stephen Greenblatt has observed about the performance of Latin plays by sixteenth--century schoolboys, there was 76 Rooley, "New light on John Dowland's songs of darkness.," 11.…”

“…As Stephen Greenblatt has observed about the performance of Latin plays by sixteenth--century schoolboys, there was 76 Rooley, "New light on John Dowland's songs of darkness.," 11. 77 Austern, "Love, death and ideas of music in the English Renaissance., " 19. To explore the viol consort as an emotional community of mourning I will now turn to one of the most significant occasions of public grief in early modern England, the death of Henry, Prince of Wales, in 1612.…”