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This submission, under the regulations for PhD by published works, consists of fifty articles by the author, together with the second edition of the book Bax: a composer and his times. These are presented in facsimile in three volumes together with a supporting essay and personal bibliography. The subject is the reception of British music, with special emphasis on the first half of the twentieth century. Three broad themes are considered: general and local musical histories, studies of recording and broadcasting, and the discussion of specific genres and specific works of British composers from the period. Specific composers include Sir Arnold Bax (1883-1953), Sir Granville Bantock (1868-1946), Sir Arthur Bliss (1891-1975), Benjamin Britten (1913-1976), Alan Bush (1900-1995), Frederick Delius (1862-1934), Thomas F Dunhill (1877-1946), Sir Edward Elgar (1857-1934), Berthold Goldschmidt (1903-1996), Trevor Hold (1939-2004), Sir Michael Tippett (1905-1998), Ralph Vaughan Williams (1872-1958), Sir William Walton (1902-1983) and Peter Warlock (Philip Heseltine) (1894-1930). The over-riding theme is the reception, performance history and promotion of new music by British composers in the first half of the twentieth century, and the roots of the musical life in the in the nineteenth century. Notable concerns are the role of recording, broadcasting, the press, and the impact of composer trusts in promoting the music of specific composers. The BBC Written Archives at Caversham have been the principal source, and the central role of the BBC is one of the major concerns. The nature of 'Englishness' in music (including the importance of English literature, folksong and landscape) is another, as is the impact of contemporary events, significantly the two world wars. British music is set in context by reference to wider subjects, such as the second Vienna School including Anton Webern, the conductor Oskar Fried, and the emigre composers who settled in England before and during the Second World War.

Challenging the myth and stereotype of the 'medieval minstrel', Musicians in English Royal and Noble Households 1066-1327 aims to uncover England's most accomplished musicians, composers and lyricists and reveals the extraordinary social mobility of this overlooked stratum of society. The thesis explores three strands of the musician experience: life at court, life in the noble household and life at home-the private li ves of musicians. Among aspects of musicians' professional and personal lives explored in the thesis are relationships with patrons, roles as virtuosi performers and propagandists, liveries, wages, annuities, pensions, retirement, gifts, accumulation of wealth, involvement in war, involvement in crime, family and children, private residences, legal disputes, religious patronage, endowments, property investments and social standing. Long overshadowed by the acclaimed troubadour and trouvere legacy and separated from association with their compositions, Musicians in. English Royal and Noble Households 1066-1327 tackles the misconceptions which have consigned the English musician and his legacy into obscurity and allows this largely unknown and extraordinary profession to emerge from the shadows of long-perpetuated myth.

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