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The development of fourteenth- and fifteenth-century sacred polyphony is linked closely not only to the Mass and divine services of the Roman Catholic Church, but equally to the rise of lay devotional congregations who sponsored their own services, often musically elaborate, at private chapels and altars. Within this popular phenomenon of lay devotion in the Low Countries, several northern confraternities can be cited for their very early regular use of polyphony. A polyphonic Salve service was established in 1362 by the Marian confraternity at St Goedele in Brussels, and Reinhard Strohm has shown that, by 1396, the Marian Guild of the Dry Tree (Ghilde vanden droghen Boome) in Bruges sponsored weekly masses sung in polyphony by its guild members. That polyphony was central to some fourteenth-century confraternity services is confirmed by the records of the Illustrious Confraternity of Our Lady in 's-Hertogenbosch, founded in 1318 in St John's Church.
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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology.he discovery in Antwerp of documents describing the copying and binding in 1566 of a luxurious music manuscript intended for the King of Sweden has spurred this investigation of socio-musical relations between northern urban centers. An attempt to identify the manuscript in question has produced no viable extant source in Sweden, but has uncovered a historical trail of diplomacy and intrigue that leads, albeit through circumstantial evidence, to a revised history of the Winchester part books (Winchester College MS 153), one of England's musical treasures. Scholars have long assumed, based on the lavish binding bearing the coat of arms of Elizabeth I, that the Winchester source was a presentation manuscript intended for the English queen, although the identification of its donor has never been satisfactorily answered.' I propose to show that the Winchester part books were I Slim (1:1 15) proposes (following Denis Stevens in The Mulliner Book, 56) that the part books may have originally been made for English amateurs and only later belonged This content downloaded from 128.235.251.160 on Mon, 15 Dec 2014 03:07:30 AM All use subject to JSTOR Terms and ConditionsFORNEY copied in Antwerp and were very likely a gift to Elizabeth from Erik XIV of Sweden, one of the Queen's many suitors in marriage. This study falls into three parts: the first presents strong evidence of an Antwerp provenance for the Winchester manuscript based on its repertory and its scribal link to several other sources; the second reviews the historical relations between the Swedish and English courts that suggest the probability of such a gift; and the last part, a postscript, moves from a consideration of the Winchester manuscript and its connection to Antwerp, Sweden, and England to present new information on another figure involved in the relations between the Swedish court and the Low Countries: the Antwerp music printer and instrumentalist, Tielman Susato. The documents that instigated this study stem from the records of one of the Antwerp-based mercantile companies trading in the Baltic region during the second half of the sixteenth century. This corporation, the Compagnie de Oistland, and its subsidiary, the Compagnie de Zweden, specialised in exporting fine cloth, tapestries,jewels, and other luxury articles from the Low Countries to Denmark and Sweden, and was led by Gerard Gramaye, an Antwerp tax collector, and Arnold Rosenberger, a German lawyer who served as a diplomat and ambassador for the Swedish court. (Rosenberger was also the son-in-law of the music printer Tielman Susato....
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