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LeCoat, The Rhetoric of The Arts, 1550–1650 (Frankfurt: P. Lang, 1975); W. Kirkendale, ‘Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach’, JAMS, 32 (1979): 1–44; U. Kirkendale, ‘The Source for Bach’s Musical Offering: The Institutio oratoria of Quintilian’, JAMS, 33 (1980): 88–141; J. Derkson, ‘De imitatione: The Function of Rhetoric in German Musical Theory and Practice (1560–1610)’. D. diss. (University of Toronto, 1982); B. ’, Rhetorica, 2 (1984): 1–44; W. Kirkendale, ‘Circulatio-Tradition, Maria Lactans, and Josquin as Musical Orator’, Acta Musicologica, 56 (1984): 69–92; D.

Sadie. 20 vols. (London: Macmillan, 1980), vol. 12, pp. 168–70. 46 For the impact of Protestantism on Elizabethan England, see P. Collinson, ‘The Elizabethan Church and the New Religion’, in The Reign of Elizabeth I, ed. C. Haigh (London: Macmillan, 1984), esp. pp. 176–94. 30 HUMANISM AND THE REFORM OF SACRED MUSIC IN ENGLAND main ‘theological’ trend of Oxford and Cambridge during the Elizabethan period; yet the general ‘liturgical’ and ‘musical’ feature of the cathedral and collegiate churches was still ‘popish’.

V. Rivera (New Haven: Yale University Press, 1993). P. O. Kristeller, ‘Music and Learning in the Early Italian Renaissance’, Journal of Renaissance and Baroque Music, 1 (1947): 255–74; H. Albrecht, ‘Humanismus und Musik’, in Die Musik in Geschichte und Gegenwart. ed. F. Blume. 14 vols. & 2 supplements (Kassel: Bärenreiter, 1957), vol. 6, pp. E. Lowinsky, ‘Humanism in the Music of the Renaissance’; N. Pirrotta, ‘Music and Cultural Tendencies in 15th-Century Italy’, JAMS, 19 (1966): 127–61; W. Elders, ‘Humanism and Early Renaissance 18 HUMANISM AND THE REFORM OF SACRED MUSIC IN ENGLAND association in Renaissance liturgical music tradition is mainly concerned with polyphony; but there are aspects of contemporary chant which have not been detected as directly or indirectly related to rhetoric and oratory.

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