RICHARD RASTALL is Emeritus Professor of Historical Musicology at The University of Leeds and a Fellow of the Society of Antiquaries.

• Part 1 Introduction: music in Middle English drama; the repertory - historical and fictional drama; the repertory - civic, community and institutional plays. Part 2 The internal literary evidence: the manuscripts; dramatic directions; text references; the banns; lyrics and song-texts; the use of Latin. Part 3 The surviving music: the Shrewsbury and Pepys fragments; York; Coventry; Chester. Part 4 Documentary evidence: a note on money; guild accounts and related records; Chelmsford - nthe summer of 1562. Part 5 Music as representation: the music of heaven; the music of mortals; the sounds of hell; realism and representation. Part 6 Music and dramatic structure: the dynamic functions of music; the music of numbers - structure and proportion. Part 7 Music and liturgy: the dramatic uses of liturgical material; the Presentation in the Temple; the angelic announcement to the shepherds; the Purification; the entry into Jerusalem; the Last Supper - Maundy and Mass, the mandatum, the eucharist; the harrowing of Hell; miscellaneous scaraments and offices - baptism, betrothal, marriage, burial, scarifice and oblation, blessing; questions of provenance. Part 8 The performers: professional and amateur; the problem of female roles; the angels; the shepherds; instumentalists; the audience. Appendices: editions and reconstructions - the Washington "Ave regina celorum . . . Mater", the Chester "Gloria in excelsis", "Wee happy heardsmen here".

Its scope is impressive. Rastall's task has been to explore the wide musical spectrum of early English drama... a formidable achievement, indispensable for any serious and comprehensive study of early English drama.

RICHARD RASTALL is Emeritus Professor of Historical Musicology at The University of Leeds and a Fellow of the Society of Antiquaries.

• Part 1 Introduction: music in Middle English drama; the repertory - historical and fictional drama; the repertory - civic, community and institutional plays. Part 2 The internal literary evidence: the manuscripts; dramatic directions; text references; the banns; lyrics and song-texts; the use of Latin. Part 3 The surviving music: the Shrewsbury and Pepys fragments; York; Coventry; Chester. Part 4 Documentary evidence: a note on money; guild accounts and related records; Chelmsford - nthe summer of 1562. Part 5 Music as representation: the music of heaven; the music of mortals; the sounds of hell; realism and representation. Part 6 Music and dramatic structure: the dynamic functions of music; the music of numbers - structure and proportion. Part 7 Music and liturgy: the dramatic uses of liturgical material; the Presentation in the Temple; the angelic announcement to the shepherds; the Purification; the entry into Jerusalem; the Last Supper - Maundy and Mass, the mandatum, the eucharist; the harrowing of Hell; miscellaneous scaraments and offices - baptism, betrothal, marriage, burial, scarifice and oblation, blessing; questions of provenance. Part 8 The performers: professional and amateur; the problem of female roles; the angels; the shepherds; instumentalists; the audience. Appendices: editions and reconstructions - the Washington "Ave regina celorum . . . Mater", the Chester "Gloria in excelsis", "Wee happy heardsmen here".

Its scope is impressive. Rastall's task has been to explore the wide musical spectrum of early English drama... a formidable achievement, indispensable for any serious and comprehensive study of early English drama.

RICHARD RASTALL is Emeritus Professor of Historical Musicology at The University of Leeds and a Fellow of the Society of Antiquaries.

• Part 1 Introduction: music in Middle English drama; the repertory - historical and fictional drama; the repertory - civic, community and institutional plays. Part 2 The internal literary evidence: the manuscripts; dramatic directions; text references; the banns; lyrics and song-texts; the use of Latin. Part 3 The surviving music: the Shrewsbury and Pepys fragments; York; Coventry; Chester. Part 4 Documentary evidence: a note on money; guild accounts and related records; Chelmsford - nthe summer of 1562. Part 5 Music as representation: the music of heaven; the music of mortals; the sounds of hell; realism and representation. Part 6 Music and dramatic structure: the dynamic functions of music; the music of numbers - structure and proportion. Part 7 Music and liturgy: the dramatic uses of liturgical material; the Presentation in the Temple; the angelic announcement to the shepherds; the Purification; the entry into Jerusalem; the Last Supper - Maundy and Mass, the mandatum, the eucharist; the harrowing of Hell; miscellaneous scaraments and offices - baptism, betrothal, marriage, burial, scarifice and oblation, blessing; questions of provenance. Part 8 The performers: professional and amateur; the problem of female roles; the angels; the shepherds; instumentalists; the audience. Appendices: editions and reconstructions - the Washington "Ave regina celorum . . . Mater", the Chester "Gloria in excelsis", "Wee happy heardsmen here".

Its scope is impressive. Rastall's task has been to explore the wide musical spectrum of early English drama... a formidable achievement, indispensable for any serious and comprehensive study of early English drama.