All of this points up that they saw "copyright" completely differently than we do. I found Tessa Murry's book on THomas Morley really helpful in explaining the nuances of ownership of music in Elizabethan England.

    Dear Martin and all:

    Interesting point of view, and one that seems to be based upon the
    theme that if the surviving evidence is scant, then we are obliged to
    discount the premise.  In in thesis, David Tayler posed a similar
    question of how much of the surviving music, mostly in manuscript form,
    can be firmly attributed to Dowland, and the answer was not much.

    Of course Dowland composed for the lute - and he sang and he most
    likely wore shoes although there is no firm evidence of any of the
    above.  But anyone who wades through the "collected works" will detect
    a musical personality that emerges, mainly via signature riffs (such as
    the Lachrimae motif) and cadential events.

    Whether the actual notes written in ms  or printed in his books were
    those Dowland meant to write, we'll never know for sure.  We do know
    that all players took inspiration (or purloined tunes) from diverse
    sources and I think the question might be stated, "where did Dowland
    filch his source material for the surviving lute music that was written
    down mostly by others?"


    From: <> on behalf
    of Martin Shepherd <>
    Sent: Friday, September 16, 2016 3:01 PM
    To: Lute List
    Subject: [LUTE] composed for the lute?

    Hi all,
    You might find my latest blog interesting:
    Best wishes,
    This email has been checked for viruses by Avast antivirus software.
    To get on or off this list see list information at




Nancy Carlin

PO Box 6499
Concord, CA 94524
925 / 686-5800

Reply via email to