John Sheppard (c.1514–1558/59) at Oxford and the Chapel Royal: exculpation and clarification

IF 0.6 2区 艺术学 0 MUSIC
EARLY MUSIC Pub Date : 2024-01-25 DOI:10.1093/em/caad033
Roger Bowers
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引用次数: 0

Abstract

The received biography available for the English composer John Sheppard (c.1514 – late 1558 or early 1559) is amenable to clarification at a number of points. He was employed as Master of the Choristers at Magdalen College, Oxford, for just a single spell, September 1543 to early 1548. The available evidence suggests that he proceeded thence directly to admission to the Chapel Royal. He had no further contact with Magdalen College; an instance of kidnap and confinement perpetrated in 1555 that is commonly attributed to him was instead committed by one Richard Sheparde/Sheper/Sheprey, a fellow of the college. Despite being only an imperfect draft, his ‘will’ of 1 December 1558 reveals much about his family circumstances at Westminster. He died between 1 December 1558 and 31 January 1559; the actual date must be reconcilable with expectation of his attendance at Queen Elizabeth’s coronation on 15 January 1559, as recorded on a list compiled not earlier than 15 December 1558.
约翰-谢泼德(约 1514-1558/59 年)在牛津和皇家礼拜堂:开脱与澄清
关于英国作曲家约翰-谢泼德(John Sheppard,约 1514-1558 年底或 1559 年初)的传记有多处需要澄清。他曾在牛津大学麦格达伦学院(Magdalen College)担任合唱团团长,任期只有一次,即 1543 年 9 月至 1548 年初。现有证据表明,他是直接进入皇家礼拜堂的。他与马格达伦学院再无联系;1555 年发生的一起绑架和禁闭事件通常被认为是他所为,而实施者却是该学院的一名研究员理查德-谢帕德/谢珀/谢普雷。他 1558 年 12 月 1 日的 "遗嘱 "尽管只是一份不完整的草稿,但却透露了他在威斯敏斯特的许多家庭情况。他死于 1558 年 12 月 1 日至 1559 年 1 月 31 日之间;实际日期必须与他在 1559 年 1 月 15 日出席伊丽莎白女王加冕礼的预期相吻合,因为在一份不早于 1558 年 12 月 15 日编制的名单中记录了这一点。
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来源期刊
EARLY MUSIC
EARLY MUSIC MUSIC-
CiteScore
0.20
自引率
0.00%
发文量
44
期刊介绍: Early Music is a stimulating and richly illustrated journal, and is unrivalled in its field. Founded in 1973, it remains the journal for anyone interested in early music and how it is being interpreted today. Contributions from scholars and performers on international standing explore every aspect of earlier musical repertoires, present vital new evidence for our understanding of the music of the past, and tackle controversial issues of performance practice. Each beautifully-presented issue contains a wide range of thought-provoking articles on performance practice. New discoveries of musical sources, instruments and documentation are regularly featured, and innovatory approaches to research and performance are explored, often in collections of themed articles.
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