*Arne Spohr ( studied musicology, German, theology, and education at the Universities of Bonn (MA), Oxford, and Wisconsin-Madison, and he received his Ph.D. in musicology from the Hochschule für Musik und Tanz in Cologne, Germany, in 2006. His research has focused on music in Britain, Germany, and Scandinavia between 1550 and 1750, particularly on issues of cultural exchange, institutional history, and court culture. His first book “How chances it they travel?” Englische Musiker in Dänemark und Norddeutschland (English Musicians in Denmark and Northern Germany), published in 2009, reconstructs the musical exchange between England, Denmark, and Germany in the years around 1600. He is currently working on his second book, in which he explores the interrelations between music, aural architecture, visual media, and court ceremonial in Renaissance and Baroque court culture. He currently serves as Associate Professor of Musicology at Bowling Green State University.

[1] Ernst Hermann Meyer, English Chamber Music: The History of a Great Art (London: Lawrence and Wishart, 1946), 179.

[2] Murray Lefkowitz, William Lawes (London: Routledge and Kegan Paul, 1960).

[3] David Pinto, For ye Violls: The Consort and Dance Music of William Lawes (Richmond: Fretwork Editions, 1995).

[4] Andrew Ashbee, ed., William Lawes, 1602–1645: Essays on His Life, Times, and Work (Aldershot: Ashgate, 1998).

[5] According to the German nobleman Christian II of Anhalt-Bernburg (1599–1656), who visited the Danish court in 1623, it was the custom there that the instrumentalists—there were about forty at that time—played in small ensembles rather than a large orchestra, so that every day of the week a different ensemble could be heard. See Gottlieb Krause, ed., Das Tagebuch Christians des Jüngeren, Fürst zu Anhalt (Leipzig: Dyk, 1858), 98.

[6] For potential points of comparison, see, for instance, Jessie Ann Owens’s seminal study Composers at Work: The Craft of Musical Composition, 1450–1600 (New York: Oxford University Press, 1997), particularly 108–34. This study is referenced by the author (57n40), albeit in very general terms.

[7] For an overview on the institutional history of Tafelmusik at courts in German-speaking lands, see, for instance, Erich Reimer, Die Hofmusik in Deutschland 1500–1800 (Wilhelmshaven: Noetzel, 1991). For information about specialized English instrumentalists at the Bückeburg court, including their salaries and social status, see Astrid Laakmann, “… nur allein aus Liebe der Musica …”: Die Bückeburger Hofmusik zur Zeit des Grafen Ernst III. zu Holstein-Schaumburg als Beispiel höfischer Musikpflege im Gebiet der Weserrenaissance (Münster: LIT Verlag, 2000), and Hildegard Tiggemann, “Hofmusik in Bückeburg,” in Schaumburg und die Welt. Zu Schaumburgs auswärtigen Beziehungen in der Geschichte, ed. Hubert Höing (Bielefeld: Verlag für Regionalgeschichte, 2002), 13–61. A recent selected bibliography on Tafelmusik listing scholarship in English and German is provided by Stephen D. Zohn, “Telemann’s Musique de table and the Tafelmusik Tradition,” in Oxford Handbooks Online (April 2016),