Winner of the Nicholas Bessaraboff Prize
Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that ’Your Best Provision’ for playing such music is a chest of old English viols, and he names five early English viol makers than which ’there are no Better in the World’. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.
"The book stands out for its exceptional in-depth scholarship that presents extensive primary source materials and new research, and brings fresh perspectives to our understanding and appreciation of early English viols. The authors’ well-written narrative conveys the history and development of the English viol, set in the cultural and social contexts of the 16th and early 17th centuries, in ways that engage and enlighten the reader. In addition, this excellent and deluxe publication is also notable for its high-quality photographs of instruments and documents printed on fine glossy paper. Congratulations go to the authors, Michael Fleming and John Bryan."
- American Musical Instrument Society Nicholas Bessaraboff Prize Committee
Note to Readers
1 ‘English viols are the ones which one normally plays’: Researching Early English viols
2 ‘Choice Consorts … (Rare Chests of Viols)’: The Evidence of the Repertory
3 ‘We chiefly Value Old Instruments’: Extant Old English Viols
4 ‘This way will I disrobe the images’: Images of Viols
5 ‘Such as now do lawfully exercise any art, mistery, or manual occupation’: Viol Making as a Job
6 ‘These were Old’: Early English Viol Makers
7 ‘Let Viol-makers take notice hereof’: Viol Makers’ Physical Resources
8 ‘I will search impossible places’: The Future for Early English Viols
Music and Material Culture provides a new platform for methodological innovations in research on the relationship between music and its objects. In a sense, musicology has always dealt with material culture; the study of manuscripts, print sources, instruments and other physical media associated with the production and reception of music is central to its understanding. Recent scholarship within the humanities has increasingly shifted its focus onto the objects themselves and there is now a particular need for musicology to be part of this broader ‘material turn’. A growing reliance on digital and online media as sources for the creation and consumption of music is changing the way we experience music by increasingly divorcing it from tangible matter. This is rejuvenating discussion of our relationship with music’s objects and the importance of such objects both as a means of understanding past cultures and negotiating current needs and social practices. Broadly interdisciplinary in nature, this series seeks to examine critically the materiality of music and its artefacts as an explicit part of culture rather than simply an accepted means of music-making. Proposals are welcomed on the material culture of music from any period and genre, particularly on topics within the fields of cultural theory, source studies, organology, ritual, anthropology, collecting, archiving, media archaeology, new media and aesthetics.