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http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/2555 http://eprints.org/relation/ispreviewThumbnailVersionOf http://etheses.bham.ac.uk/id/document/2555 http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/2555 archive 4031 disk0/00/00/10/28 2010-11-17 11:10:02 2019-01-23 09:53:21 2011-07-19 16:28:00 thesis show 0 Sequera Hector Sequerah@bham.ac.uk O'Neill Mary J. University of Birmingham unpub M1 MT DA 10col_artl Edward Paston (1550-1630) was very skilled in liberal arts, especially music and poetry. His love of music is reflected in his having gathered one of the largest collections of music manuscripts from Elizabethan and early Jacobean times. The collection is very important as it holds unique copies of many compositions by some of the best-known composers from the Renaissance including Byrd. This thesis investigates the idea of the Paston collection as a performing collection within the historical, cultural, and musical context of 16th century England. The study presents Edward Paston as a personification of some of the ideals in Castiglione’s The Courtier, and it also discusses Paston’s role within his social milieu mostly formed by the recusants’circle. This is followed by a presentation of the musical traditions that Paston presumably knew as well as a study of the collection within this context. By presenting this socio-cultural and musical framework, the intent is to arrive at a better understanding of the collection in relation to house music making in Edward Paston’s household and within his circle. The final section of the thesis investigates how the collection was used and how it can be applied to current performance practice. 2010-12 2010-01 graduation eng British Library Add. MS 29246 author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 431 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Music d_ph na 2010-12 graduation