The Gloria Cycle

Coventry has a remarkable bicycle manufacturing heritage. From the first velocipedes built in 1868, the city went on to become the home of the British cycle industry and at one time produced the greatest output of cycles in the world – with well in excess of 450 individual cycle manufacturers over a 100-year period. The Coventry Machinists Company were the first in Britain to mass-produce cycles, and steadily, more and more companies were established in the city. Soon Coventry became internationally recognised as a place where only the very best machines were made, and the name 'Coventry' itself became a stamp of quality engineering and fine craftsmanship. Richly illustrated with over 100 outstanding images from Coventry History Centre, many previously unpublished, this is the first book of its kind to cover the history of Coventry bicycle manufacture and the people who built them. From Dunlop, Hobart, Singer, Premier, Rover and Triumph to other lesser-known local companies, their legacies are still enjoyed by cyclists and local historians today.

This book is a history of the early musical life of the Parisian cathedral of Notre Dame. All aspects of the musical establishment of Notre Dame are covered, from Merovingian times to the period of the wars of religion in France. Nine discrete essays discuss the history of Parisian chant and liturgy and the pattern and structure of the cathedral services in the late Middle Ages; Notre Dame polyphony and the composers most closely associated with the cathedral, among them Leoninus, Perotinus and Philippe de Vitry; the organ and its repertoire; the choir, the musical education and performing traditions; and the relationship of the cathedral to the court.

The essays in this volume offer diverse, innovative approaches to medieval music and culture.

England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of ‘what is English’ cannot truly be answered without also answering the question of ‘what is continental’. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. A great many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice – a practice which has had, and will continue to have, major importance in the ongoing history of European Art Music.

The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers

This 1994 collection of fourteen essays, written by an eminent group of scholars, explores the musical culture of the German-speaking realm between c.1450 and 1600. The essays demonstrate the important role played by German speakers in the development of instrumental music in the Renaissance, the shaping of the curricula of musical education in the modern age, in setting patterns of musical patronage, in establishing congregational singing in churches, and in developing commercial music printing. The essays shed light on the music that flourished at Imperial and ducal courts, universities, parish churches, collegiate schools, as well as the homes of prosperous merchants. The volume thus provides an overview of German polyphonic music in the age of Gutenberg, Dürer and Luther and documents the changing social status of music in Germany during a crucial epoch of its history.