This dissertation is based on the study of over 340 performances of early music given by the Parisian Schola Cantorum and its sister association, the Chanteurs de Saint-Gervais, between 1894 and 1914. The first chapter explores performance trends for this repertoire in isolation. Chapter 2 is an attempt to root out personal reasons for the changes in Schola programming, and also provides a sketch of the community that was behind the institution. The next chapter considers how Schola programming may have been affected by changes to the institution's mandate, goals, and relationship to the Conservatoire and other Republican institutions. The circle widens in Chapter 4, with a discussion of the relevance of Bordes's revival to sacred music reform. In the final chapter, the Schola's revival is placed in the broader context of French fin-de-siecle politics and nationalism in particular. / This dissertation provides a new assessment of Charles Bordes and Vincent d'Indy's respective biographies and demonstrates that many of the right-wing programming tendencies at the Schola should be attributed to Bordes. The importance of personal networks is emphasized in most of the dissertation. In addition to providing information on an unprecedented number of Schola concert types, this dissertation identifies the importance of looking to revivals of seventeenth-century music after 1898. For this repertoire provided an analogue for Ferdinand Brunetiere's ideas of an ideal, seventeenth-century French. An important shift in concert type and repertoire after 1904 provides a new window on d'Indy biography and underscores the transformation of the French public's musical values around the same time. The Schola's role in the reform of sacred music has been over estimated. The papal motu proprio of 1903 only reiterated instructions on sacred music previously handed down by the Sacred Congregation of Rites in 1894 and it was probably not directed specifically at the Parisian Schola Cantorum. The Schola's concerts of early music became sites for the expression of cultural difference. Much like many concerts exclusively devoted to this repertoire---and unlike many events that combined early and contemporary music---the "Frenchness" expressed at these events was intended to remain beyond the grasp of the average French citizen.

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This study is concerned with the motets in an important manuscript of polyphonic music of the first third of the fifteenth century. Although the book appears to have been written in northern Italy around 1430-1433, some of the motet repertory dates back to the last years of the fourteenth century, and, in one instance, perhaps to the middle of that century.

The Laborde Chansonnier (Wash.L.C. 2.1 L25 Case) is one of the most important but least studied of the Franco-Burgundian chansonniers of the fifteenth century. It contains 106 chansons, 22 of which are unica. / Fallows, Brown, Montagna, Kenney, Perkins and others have discussed the transformation of the style of the chanson over the course of the 15th century. Little has been written specifically on the period of the Laborde chansonnier. With reference to musical features such as melodic style, imitation, cadences, metrical structure, role of the contratenor, and range of note values, I discuss the style of the chansons, first in general, and then layer by layer, charting the changes in a crucial period. Although these changes are gradual, it is possible to follow the development of the chanson during the period between 1450 and the beginning of the sixteenth century. / The Laborde Chansonnier contains twenty-five unica, of which four have appeared in modern editions, and one of which is incomplete. I have transcribed the other twenty and also four other chansons which I could not find in modern editions. (Abstract shortened by UMI.)

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This thesis, which is based on manuscripts in Magdalen College, Oxford, is a study of the English career of Sir John Fastolf (1380-1459). In the first chapter Fastolf's investment in land is examined and the conclusion is reached that Fastolf bought property in a limited and artificial market. The second chapter analyses the administration of Fastolf's estates. It demonstrates that Fastolf paid close attention to administration and policy-making. A survey of Fastolf's friends and associates, particularly in the light of the feoffments he made, is undertaken in the third chapter. The subject of the fourth chapter is the emnity between Fastolf and William, Duke of Suffolk during the 1440s. The high-handedness of the Duke and his officers is emphasised. The major lawsuits fought by Fastolf are studied in the final chapter. It is concluded that Fastolf suffered not because he had bought property unwisely but because he was the victim of the acquisitiveness of men who had political power during Suffolk's supremacy. Disputes, nevertheless, were almost always conducted in a peaceful way.

The last chapter does not directly concern Poggio, but publishes letters between two of his most bitter enemies, Niccolo Perotti and Lorenzo Valla. They date from the period of the protracted polemics exchanged between them and him (1451-54). An effort is made to characterise the scribe of these letters, and to place him in the context of humanist education. New information on Valla and Perotti is also integrated into their biographies.

The object of the present study is Antonio Pistoia (1436? - 1502), a jocular poet and customs collector who worked mainly in Northern Italy. Although his reputation as a notable literary figure has suffered from neglect in recent times, his work was appreciated by and known to his contemporaries including Pietro Aretino, Ludovico Ariosto, Matteo Bandello, Francesco Berni and Baldesar Castiglione. Research on his life and work came to a halt at the beginning of this century and since then he has failed to attract significant attention. The present study attempts to review and re-examine both the man and his work with a view to putting Antonio Pistoia back on the literary map. My thesis is based on the idea that a poet can be explored from various points of view and with different methodologies tailored to the objects under investigation. In the case of Pistoia a biographical history alone or an interpretation of his work alone would provide only partial results. By combining the two I have attempted to see how he and his work fitted within the cultural scene, the social and historical setting of Renaissance Italy in a period of political and military crisis. Based on archive work and on new textual material retrieved from a number of European libraries, this study challenges and tests widely held theories concerning both his biography and his literary production. By collecting fresh references and winnowing old ones, it throws new light on a series of specific issues from matters of identification relating to the poet's life, the critical fortune of his collection of sonnets, his play Panfila and other minor works, and to problems of uncertain authorship, including poems of undisputed, doubtful and arbitrary attribution; the final section is devoted to his Canzoniere, its composition and the tradition to which it belongs and a thematic and stylistic overview of his poems. A codicological analysis of the allegedly autograph manuscript and a listing of Pistoia's archival documents, manuscripts and early printed sources, completely assembled for the first time and comprehensive of additional new findings, conclude the study.

This thesis examines the life and works of the 15th century Indian Saint known as Raidas by Hindi speakers and as Ravidas by Panjabi speakers. The first chapter surveys the sources for the study of his life and investigates what is known of his life and the development of his hagiography. The second chapter describes the manuscript sources for the vani of Raidas. The third chapter examines the original form of Raidas's works and how their transmission within oral traditions influenced their content prior to their being set down in manuscript form. The fourth chapter is a study of the teachings of Raidas as found in this critical edition of his works. The fifth chapter is an examination of the differences between the DSdQ PanthT, Sikh, and Nath recensions of the vani. In this chapter it is argued that it is those portions of the vani which are found in most, or all, the recensions of the vani which are most likely to represent original compositions of Raidas himself and the early Raidas tradition. The sixth chapter is a critical edition of 111 padas and 6 sakhis based on twelve sources which predate AD 1700, accompanied by an annotated translation of the text. The seventh and eighth chapters contain a full etymological glossary of the text and brief descriptive grammar of the vani and its prosody.