Reconstructing Verses by Henry Loosemore and John Coprario: a Research Catalogue exposition presenting Helen Roberts's edition of Verses by Henry Loosemore and John Coprario (published by Septenary Editions) accompanied by recordings and scholarly commentary.
- Submitting institution
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Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_R2098
- Type
- R - Scholarly edition
- DOI
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- Title of edition
- Reconstructing Verses by Henry Loosemore and John Coprario
- Publisher
- Research Catalogue / Septenary Editions
- ISBN
- -
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2020
- URL
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https://www.researchcatalogue.net/view/944310/1026868
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- _Reconstructing Verses by Henry Loosemore and John Coprario_ is a Research Catalogue exposition by Helen Roberts that presents a package of outputs from practice-led research around two unique pieces of instrumental music with winds from early seventeenth-century England. Along with the first critical performance edition (peer-reviewed publication by Septenary Editions in December 2020) and a world premiere recording of these two pieces, Roberts presents a detailed discussion of the investigation which informed the editorial process, focussing on three historical artefacts: MS Drexel 5469, the fragmentary source of the music in question; the Christ Church cornetts, two original instruments that may historically have been associated with performance of this type of repertoire; and the St Teilo organ, an instrument reconstructed after Tudor archaeological evidence and representative of the style of instrument in use when MS Drexel 5469 was compiled. Roberts examines each artefact in turn, establishing the wider historical context of each and assessing the connections between all three. This process has not only shed new light on two pieces overlooked by historical performers until now, but has also illuminated broader aspects of performance practices in seventeenth-century England, relating to pitch, key, and temperament. In the process, it demonstrates the value of practice-led research methods traditionally under-used in this field and raises important questions surrounding the performance of early-seventeenth century liturgical music in general.
- Author contribution statement
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- Non-English
- No
- English abstract
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