It is not the purpose of this dissertation to present a history of Purgatory; rather, it is to show through the history the influence of purgatorial doctrine on the English lay community and the need of that community for this doctrine. Having established the importance this doctrine held for so many in England, with an examination of the chantry institution in England, this study then examines how this doctrine was stripped away from the laity by political and religious reformers during the sixteenth century. Purgatorial belief was adversely affected when chantries were closed in execution of the chantry acts under Henry VIII and Edward VI. These chantries were vital to the laity and not moribund institutions. Purgatorial doctrine greatly influenced the development and concept of the medieval English community. Always seen to be tightly knit, this community had a transgenerational quality, a spiritual and congregational quality, and a quality extending beyond the grave. The Catholic Church was central to this definition of community, distributing apotropaic powers, enhancing the congregational aspects, and brokering the relationship with the dead. The elements of the Roman liturgy were essential to community cohesiveness, as were the material and ritual supports for this liturgy. The need of the community for purgatorial doctrine shaped and popularized this doctrine Next, an analysis of surviving and resurging elements of expiatory rites is explored; ritual, especially that surrounding death, as well as the relationship with the dead, were sorely missed when stripped away through political actions linked to Protestant belief. This deficiency of ritual aspects within the emerging Protestant religion became evident in further years as some of the same customs and rituals that were considered anathema by Protestants slowly crept back into the Protestant liturgy in an attempt to restore the relationship between the living and the dead. Strong evidence of this is provided through sixteenth to nineteenth century death eulogies, surviving rites of expiation, as well as lay essays and popular literature discussing the phenomenon called the Sin-Eater.

Au XVIe siècle Laredo était un des ports les plus actifs des Quatre Villes de la Côte de la Mer, la façade maritime de l'actuelle Cantabrie au nord de l'Espagne. Cet essor cessa à la fin du siècle lorsque le port larédain plongea dans une crise économique profonde et irréversible. Comment expliquer cette trajectoire ?Le contexte géographique fut un obstacle majeur : la circulation vers l'arrière-pays était difficile à cause de la Cordillère Cantabrique et les infrastructures portuaires étaient particulièrement exposées aux caprices de la mer. Au XVIe siècle les Larédains jouèrent un rôle essentiel dans le transport de la laine de Castille vers les Flandres et dans l'importation de tissus et de marchandises. Laredo était alors une porte d'entrée pour tous ces produits qui étaient par la suite expédiés par les commettants larédains vers les principales places marchandes castillanes. Les connétables de Castille contribuèrent à l'essor de ce trafic. À la fin des années 1560 la rivalité avec l'Angleterre et les révoltes dans les Flandres paralysèrent les échanges commerciaux et l'économie larédaine déclina progressivement.Le XVIe siècle fut aussi pour Laredo le temps des armadas. Le port se transforma en base navale d'où la couronne expédiait soldats, matériel et argent pour ravitailler les troupes qui se battaient en Flandres. Mais à partir de 1572 Laredo cessa de jouer ce rôle au profit de Santander qui était un site plus facile à défendre. La présence de ces flottes fut à l'origine de nombreux conflits avec la population locale, mais l'organisation de ces armadas représenta pour de nombreux Larédains une source de revenus lorsqu'ils approvisionnaient les navires, ou effectuaient des réparations diverses. / In the 16th century, Laredo was one of the most active harbours of the Cuatro Villas de la Costa de la Mar, the seabord of the present Cantabria Region in the North of Spain. This growth ceased at the end of the century when the harbour of Laredo plunged into a deep and irreversible economic crisis. How can we explain this reversal/this evolution?The geographical context was a major obstacle: movement of goods and people to the hinterland was difficult due to the Cantabrian mountain range, and the port infrastructures were particularly exposed to the whims of the sea.In the16th century Laredo inhabitants played an important role in the transport of wool from Castile to Flanders and in the import of fabric and goods. At that time, Laredo was a gateway for all these products, which were shipped afterwards to the main Castilian marketplaces. The constables of Castile contributed to the development of this traffic. In the late 1560s the rivalry with England and the rebellions in Flanders curbed this trading activity and the economy of Laredo gradually slumped.The 16th century was also for Laredo the time of the armadas. The harbour transformed into a naval base from which were sent soldiers, equipment and money in order to supply the troops who were fighting in Flanders. But, from 1572, Laredo stopped playing this role in favour of Santander which was an easier site to defend. The presence of the fleet was the cause of several conflicts with local people, but the organization of those armadas was for several people of Laredo a source of income when they supplied ships or when they made different repairs.

This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli.

This paper is an examination of the battle chansons of Clement Janequin for references to Renaissance trumpet music. The following issues are addressed: dating the early use of the clarino register; the history and evolution of the courtly trumpet ensemble; and the transition from the shorter trumpet of the Middle Ages to the longer instrument of the middle Renaissance and Baroque eras. Because the earliest Janequin battle chanson predates all known written trumpet sources by over fifty years, musical evidence gleaned from these battle chansons can help to establish the existence and character of trumpet performance practices in the first third of the sixteenth century. The first chapter summarizes all of the known primary sources of information on Renaissance trumpet performance, and identifies important issues worthy of further investigation. The second chapter examines trumpet music and trumpet style in the Renaissance, including trumpet ensemble performance, military trumpet calls, and the imitation of trumpet style in purely vocal music, and contains eight musical examples. The third chapter discusses the battle chansons of Janequin and their influence on other sixteenth-century works. Chapter £our analyzes the battle works of Janequin for allusions to trumpet music and includes eleven musical examples. The fifth and concluding chapter places the musical allusions into the context of trumpet history. The musical references pointed out in these chansons provide the first musical evidence that trumpeters in the early sixteenth century were performing in the clarino register. Clear references to unequal articulation, military calls, characteristic: trumpet rhythms, and to the music of the courtly trumpet ensemble are demonstrated. The chansons also provide evidence of the simultaneous use of trumpets in at least two different keys, probably for two different styles of playing.

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The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.