From Liturgy and the Education of Choirboys to Protestant Domestic Music-Making: The History of the 'Hamond' Partbooks (GB-Lbl: Add. MSS 30480-4)
From Liturgy and the Education of Choirboys to Protestant Domestic Music-Making: The History of the 'Hamond' Partbooks (GB-Lbl: Add. MSS 30480-4)
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从礼拜仪式和唱诗班男孩的教育到新教家庭音乐制作：“Hamond”部分手册的历史（GB-Lbl：Add. MSS 30480-4）
DOI：
10.1080/14723808.2018.1546477
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发表时间：
2019
期刊：
影响因子：
--
通讯作者：
Butler K
中科院分区：
文献类型：
--
作者：
Butler K
所谓的“Hamond”partbooks（大英图书馆，Add. MSS 30480-4）被复制了大约40年，由多个团体的合作抄写员，导致了服务音乐，神圣的歌曲，拉丁经文歌，香颂，牧歌，In nomine，甚至弥撒摘录的杂项组合。这些部分书籍是伊丽莎白统治前几十年新教礼拜音乐的唯一完整手稿来源。这是对这套部分书的第一次全面研究，重新评估了编纂阶段和抄写员的抄写实践，以提供对手稿历史和背景的新解释。文章认为，partbooks开始生活作为一个礼仪和教育集合的训练唱诗班男孩。因此，这些部分书籍提供了对一个新教机构的曲目和实践的独特见解，强调了伊丽莎白统治十年来对爱德华七世曲目的持续依赖，以及大陆印刷音乐的日益增加。这些partbooks的传输，然后追溯到一个更家庭和娱乐设置，探索他们的关系，哈蒙德家庭。虽然萨福克郡霍克登的托马斯·哈蒙德在1615年将他的所有权刻在了封面上，但对这些部分书籍的汇编和历史的重新评估表明，这些书籍至少从16世纪80年代末/90年代初开始由哈蒙德家族拥有。这个家庭增加了新的作品，进行了维修，并与以前的所有者复制的音乐进行了接触。最后，年轻的托马斯·哈蒙德对古老音乐的兴趣确保了它们的保存，它们继续成为18世纪和19世纪音乐古物学家的历史兴趣来源。
The so-called ‘Hamond’ partbooks (British Library, Add. MSS 30480-4) were copied over a period of c.40 years by multiple groups of collaborating scribes, resulting in a miscellaneous combination of service music, sacred songs, Latin motets, chansons, madrigals, an In nomine, and even Mass extracts. These partbooks are the only complete manuscript source of Protestant service music from the first decades of Elizabeth's reign. This first holistic study of this set of partbooks re-evaluates the stages of compilation and the copying practices of the scribes to offer new interpretations of the manuscripts’ history and contexts. The article argues that the partbooks began life as a liturgical and educational collection for the training of choirboys. These partbooks therefore offer a unique insight into the repertory and practices of one Protestant institution, highlighting the continued reliance on Edwardian repertories over a decade into Elizabeth's reign, as well as the growing availability of continental printed music. The transmission of these partbooks is then traced to a more domestic and recreational setting, exploring their relationship to the Hamond family. While Thomas Hamond of Hawkedon in Suffolk inscribed his ownership inside the covers in 1615, the re-evaluation of the compilation and history of these partbooks reveals that the books were in the possession of the Hamond family from at least the late 1580s/early 1590s. This family added new pieces, made repairs and engaged with the music copied by previous owners. Ultimately their preservation was assured by the younger Thomas Hamond's interest in older music, and they continued to be a source of historical interest for eighteenth- and nineteenth-century music antiquarians.