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Drexel 4257, also known by an inscription on its first page, "John Gamble, his booke, amen 1659" is a music manuscript commonplace book.〔Jeffrey Pulver, ''A Biographical Dictionary of Old English Music'', with a new introduction and a bibliography of the writings of Jeffrey Pulver by Gilbert Blount (New York: Da Capo Press, 1973).〕 It is the largest collection of English songs from the first half to the middle of the 17th century, and is an important source for studying vocal music in its transition from Renaissance music to Baroque music in England. Many songs also provide commentary on contemporary political events leading up to the Restoration. Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.〔(Resource Description and Access ), rule 6.2.2.7, option c (access by subscription).〕 == Historical context == Before researchers took active interest in it, the field of 17th-century British song had not been investigated. Music historian Charles Burney had a negative opinion towards British vocal music in this period. That attitude was carried through the beginning of the 20th century, where in the first edition of the ''Oxford History of Music'', Hubert Parry stated that English composers' sense of musical line was deficient. Vincent Duckles thought one reason for the negative attitude might have been the lack of published sources: Between 1627 (the publication date of John Hilton's ''Ayres or Fa-las'') and 1651 (John Playford's ''Musical Banquet''), there appeared only a single publication of British vocal music: Walter Porter's ''Madrigales and Ayres'' of 1632. Scholarly work on Drexel 4257 was one of the major reasons for a change in attitude. With over 320 songs, 250 of which contain music, it is "the largest single body of early 17th-century English songs that we know." "The composers ... all belonged to the small world of court musicians that suffered disruption during the English Civil War and the Commonwealth of England. Some began their careers late in the reign of James I, most saw service in court of Charles I, and a few survived to return to their posts at the invitation of Charles II." For the most part, their active careers were over by 1660 or shortly thereafter. The compiler (or compilers) was not an antiquarian: this collection of songs was intended for practical use, and represents the generation of English composers active between 1630 and1660. As such, Drexel 4257 "stands as the record of English musical and literary taste as it developed over a period of some thirty years," moving from the late Jacobean era to Restoration periods. Though its musical contents may sometimes be variable, its main interest is that, as a document of its time, it reflects contemporary taste, offering comments on contemporary events and references to the past. By virtue of its repertoire and of the period covered, Drexel 4257 is closely related to other 17th-century English music manuscripts: 2240 (British Library Deposit), Drexel 4041 (New York Public Library), Don.c.57 (Bodleian Library), Add. 29,396 (British Library), Add. 11,608 (British Library), MS B.1 (Bodleian Library ), Add. 31432 (British Library), Add. 10337 (British Library), F.5.13 (Trinity College, Dublin), Egerton 2013 (British Library), Drexel 4175 (New York Public Library), Add 29381 (British Library), MS 1041 (Lambeth Palace Library), and MS 87 (Christ Church Library). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Drexel 4257」の詳細全文を読む スポンサード リンク
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