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Relevant bibliographies by topics / Tenbury

Academic literature on the topic 'Tenbury'

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Tenbury"

1

Chivers, Christopher. "St Michael's, Tenbury." Musical Times 126, no. 1710 (August 1985): 452. http://dx.doi.org/10.2307/964303.

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2

FENLON, IAIN. "THE TENBURY AND ELLESMERE PARTBOOKS." Music and Letters 74, no. 1 (1993): 158—a—158. http://dx.doi.org/10.1093/ml/74.1.158-a.

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3

Reynolds, Gordon, and Watkins Shaw. "Sir Frederick Ouseley and St Michael's, Tenbury." Musical Times 130, no. 1756 (June 1989): 374. http://dx.doi.org/10.2307/966052.

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4

Sholl, Alan. "Observing once‐in‐a‐lifetime weather: the winter of 1981–1982 in Tenbury Wells." Weather 75, no. 5 (March 27, 2020): 144–47. http://dx.doi.org/10.1002/wea.3711.

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5

Walkling, Andrew R. "The Masque of Actaeon and the Antimasque of Mercury: Dance, Dramatic Structure, and Tragic Exposition in Dido and Aeneas." Journal of the American Musicological Society 63, no. 2 (2010): 191–242. http://dx.doi.org/10.1525/jams.2010.63.2.191.

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Abstract Problems associated with the main surviving sources of Purcell's Dido and Aeneas (the 1688 “Priest” libretto and GB-Ob MS Tenbury 1266) have resulted in the persistence of fundamental misconceptions regarding the scope and nature of the work. Through a detailed examination of the “deleted dances” and their relationship to other components, such as choruses, it is possible to reconstruct what the original piece may have looked like. This process prompts a reconsideration of the “Grove Scene” in act 2, which is shown to contain a masque–antimasque pair featuring Aeneas in the role of Actaeon and the Sorceress's Spirit playing the part of Mercury. In contrast to the conventional structure in which the masque triumphs over the antimasque, in Dido the opposite is true, a circumstance that underscores and effectuates the tragic nature of the work.

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6

ADAIR, W. D. "CAN WE TRUST THE CENSUS REPORTS? LESSONS FROM A STUDY OF DOMESTIC SERVANTS IN TENBURY, WORCESTERSHIRE, 1851 AND 1861." Family & Community History 5, no. 2 (November 2002): 99–110. http://dx.doi.org/10.1179/fch.2002.5.2.003.

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HAMESSLEY, LYDIA. "THE TENBURY AND ELLESMERE PARTBOOKS: NEW FINDINGS ON MANUSCRIPT COMPILATION AND EXCHANGE, AND THE RECEPTION OF THE ITALIAN MADRIGAL IN ELIZABETHAN ENGLAND." Music and Letters 73, no. 2 (1992): 177–221. http://dx.doi.org/10.1093/ml/73.2.177.

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8

Mateer, David. "The Compilation of the Gyffard Partbooks." Royal Musical Association Research Chronicle 26 (1993): 19–43. http://dx.doi.org/10.1080/14723808.1993.10540960.

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The ‘Gyffard’ partbooks (British Library, Add. MSS 17802–5) are perhaps the most important source of Tudor sacred music of the mid-sixteenth century, for unlike the only other collection that could reasonably lay claim to that title—the Henrician partbooks at Peterhouse, Cambridge—they have survived intact. Just six of Gyffard's 94 pieces have contemporary concordances, and only three of these are wholly straightforward. Taverner's Western Wind Mass (no. 24) turns up again in John Sadler's partbooks; two voices only of Redford's Christus resurgens (no. 58) are found in Tenbury MS 389 and its companion, the James part-book; and Van Wilder's Pater noster (no. 6) is printed in Susato's Liber quartus ecclesiasticarum cantionum quatuor vocum (Antwerp, 1554). Two of the three problematic items appear to be four-part reworkings of what were originally five-voice pieces. Taverner's Dum transisset (no. 61) appears a5 in both the Dow and Baldwin partbooks; Johnson's Gaude Maria Virgo (no. 85) is found in its five-part version, though textless, in British Library, Add. MS 31390; finally, a fragment of Tye's Western Wind Mass resurfaces in British Library, Add. MSS 18936–9, attributed to ‘Alphonsus’. There are therefore at least 88 unica in Gyffard—a significantly higher proportion than in any other contemporary source of comparable size. Our knowledge of the state of English sacred polyphony on the eve of the Reformation is heavily dependent on these partbooks, for they preserve a representative cross-section of liturgical genres by a wide range of composers encompassing the great and the obscure.

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9

Stewart, Michael Edward. "Letters of Pope Gregory: A Study of an Unknown Tenth-Century Manuscript Bound in Tenbury and Found in Melbourne Containing all or part of Forty Letters sent by Pope Gregory the Great by John R. C. Martyn." Parergon 32, no. 1 (2015): 258–60. http://dx.doi.org/10.1353/pgn.2015.0007.

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10

Taylor, Michael A. "CING 95. Tenby Museum. Tenby, Dyfed." Geological Curator 5, no. 3 (July 1989): 110. http://dx.doi.org/10.55468/gc624.

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Geological public service: permanent display; access to reserve collection; no specialist curator; no identification service; not a NSGSD record centre. Geological collections: rocks, minerals and fossils; good condition; catalogued; variable extent of records; a small collection illustrating the geology of Pembrokeshire. August 1987....

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Dissertations / Theses on the topic "Tenbury"

1

Pfister, Nina [Verfasser], Ralf [Akademischer Betreuer] Tenberg, and Ziegler [Akademischer Betreuer] Birgit. "Führung als Teilaspekt von beruflichen Schulen / Nina Pfister. Betreuer: Ralf Tenberg ; Ziegler Birgit." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2013. http://d-nb.info/1107772362/34.

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Books on the topic "Tenbury"

1

Tenbury Wells and District Civic and Historical Society., ed. Tenbury Wells: Historical aspects. Tenbury: Tenbury Wells and District Civic and Historical Society, 2001.

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2

Tenbury Wells and District Civic and Historical Society. Historical aspects of Tenbury. 2nd ed. Tenbury: Tenbury Wellsand District Civic and Historical Society, 1996.

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3

Howard, Miller, ed. Tenbury & district in wartime. Tenbury Wells (6 Oak Bridge Court, Tenbury Wells, Worcs. WR15 8DS): [The author], 1994.

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4

Tenbury Wells and District Civic and Historical Society. Tenbury Wells, historical aspects. Tenbury: Tenbury Wells and DistrictCivic and Historical Society, 1993.

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5

G, Barrington Peter, ed. Twelve walks exploring Tenbury. Tenbury: Peter Barrington, 1997.

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6

Mytton, Geoffrey. A social of Tenbury Bowling Club, 1894-1990. s.l: n.p., 1992.

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7

Tenbury and the Teme Valley: People and places. Woonton Almeley: Logaston Press, 2007.

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8

Howard, Miller. Tenbury Wells: And the Teme Valley : the second selection. Stroud: Tempus, 1998.

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9

Barrington, Peter G. Twelve More Walks Exploring Tenbury: Rambling along with Peter Barrington. Tenbury: Printing Matters, 2002.

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10

City of Hereford Archaeology Unit., ed. Church Street, Tenbury Wells, Worcestershire: A report on an evaluation excavation. Hereford: City of Hereford Archaeology Unit, 1996.

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Book chapters on the topic "Tenbury"

1

Brodie, Allan. "P. H. Gosse, Tenby: A Sea-Side Holiday (1856)." In Travel and Tourism in Britain, 1700–1914, 365–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003112990-58.

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2

Borsay, Peter. "Chapter 6. From Port to Resort: Tenby and Narratives of Transition, 1760-1914." In Resorts and Ports, edited by Peter Borsay and John K. Walton, 86–112. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781845411992-009.

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3

"II. 1857–1859 ‘I saw the Lord’: Ouseley and Tenbury." In John Stainer, 38–62. Boydell and Brewer, 2007. http://dx.doi.org/10.1515/9781846155598-005.

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4

Kildea, Paul. "Dido and Aeneas (1951)." In Britten on Music, 106–7. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0035.

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Abstract Sir,-In his letter of May 3 Dr. Geoffrey Bush states that Purcell’s music to Dido and Aeneas has been ‘carefully preserved.’1 That is not quite the case. The only surviving manuscript of the music seems to be one written by John Travers 25 years after the death of Purcell and 40 years after the only contemporary performance of the work. Travers was not born at the time of this performance, and judging by obvious copying errors in the manuscript he cannot have been very familiar with the work, and it can never have been used for performance. The source for Dr. W. H. Cummings’s Purcell Society edition was written ‘probably in Purcell’s time’ (Dr. Cummings’s words).2 This came to light in the 1880s and has since disappeared (according to Professor E. ]. Dent).3 It differs widely from the above Travers manuscript which is preserved in the library of St. Michael’s College, Tenbury. There was apparently yet another manuscript consulted by MacFarren for his edition of the work for the Musical Antiquarian Society in 1841, which again differs from the above version, actually being considerably shorter.4 It seems that there is no trace of this manuscript to-day. ‘Carefully preserved’ is, therefore, a scarcely accurate phrase to use.

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5

"Tenby, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/2350242170.

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6

"6. A Tenbun Miscellany." In The Columbia Anthology of Japanese Essays, 96–104. Columbia University Press, 2014. http://dx.doi.org/10.7312/cart16770-008.

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7

"CHILD OF TENBY." In Robert Recorde, 7–16. University of Wales Press, 2016. http://dx.doi.org/10.2307/jj.14491723.8.

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8

Arnold-Forster, Florence. "11 Sept., Sat. (Tenby)." In Florence Arnold-Forster's Irish Journal, edited by T. W. Moody, Richard Hawkins, and Margaret Moody. Oxford University Press, 1988. http://dx.doi.org/10.1093/oseo/instance.00229057.

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9

Cunningham, Valentine. "On the Beach." In Coastal Cultures of the Long Nineteenth Century, 186–99. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.003.0011.

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This chapter offers a wide-ranging and evocative snapshot of literary seashores in the middle of the nineteenth century. Cunningham suggestively links edgeland doings and meanings, their positives and negatives: Victorian Doverianisms in the parenthesis between suicidal Gloucester and gay Auden; what happened at Tenby; natural historical reverence beside the sea; Small Game Hunting with Hammer and Chisel; microscopes and vivaria; depredations and poeticities. Key figures discussed include Philip Henry Gosse, George Eliot, G. H. Lewes (and Peter Carey), Matthew Arnold and Alfred Lord Tennyson.

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10

Harrington, G. M., E. J. Williams, G. Ballard, and J. Goodfellow. "The Investigation and Rehabilitation of Tenby Old Stone Pier." In Breakwaters, coastal structures and coastlines, 333–44. Thomas Telford Publishing, 2002. http://dx.doi.org/10.1680/bcsac.30428.0028.

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Conference papers on the topic "Tenbury"

1

Konickaja, Jelena. "The Category of Dual in the Two Slavic Grammar Books: Adam Bohorič and Meletius Smotrytsky." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.11.

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In the Slavic grammar books of the 16th-17th centuries, the category of dual was represented in the fi rst Slovenian grammar book «Arcticae horulae succisivae» (1584, Wit-tenberg) by the Protestant grammarian A. Bohorič (1520 –1588) and in the grammar book of the Church Slavonic lan-guage «Slavonic Grammar with Correct Syntax» (1619, Jevje) by M. Smotrytsky (1578–1633 (?)).It was assumed earlier that the Slovenian grammar had had a possible impact on Smotrytsky’s Grammar. However, the analysis of the dual forms in Bohorič’s G r a m m a r and Smotrytsky’s Grammar showed that such an impact was most likely impossible. When creating their gram-mar books, the authors were guided by different aims: if A. Bohorič was following the practice of using the forms of a living language, then Smotrytsky was orienting towards the fi xed stable forms of dead written language.

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