This thesis consists of an archival and musical study of early liturgical printing in Tudor London, focusing specifically on a bibliographical, musical and contextual examination of the printed books of the 'Sarum' rite (Salisbury use), including those reissued during the reign of Queen Mary. Included in this study is an examination of early English printers working in London and print culture, that which gets into print (from earlier manuscript sources), the possible market for these liturgical books, and for whom and for which institutions the books and their music may have been intended.
This study is modelled on M. K. Duggan's Italian Music Incunabula: Printers and Type, and comparisons between the two studies are made by way of an introduction. The origins of the 'use' of Salisbury and the evolution and development of various 'Sarum' liturgical books are discussed, and an overview of early printing and early music printing in England is given. A biographical and bibliographical summary of the London printer/publishers Richard Pynson and Wynkyn de Worde follows, with case studies of particular liturgical books (in the case of Pynson, his 1504 Missal and 1502 Processional. Evidence of institutional and personal ownership and use of liturgical books has been examined, alongside the official requirements made to churches for the possession of liturgical books. The possible market for these books will be considered. Annotations, amendments, and questions of performance in printed service books will also be discussed. A descriptive bibliography and catalogue of Sarum liturgical books concludes the study and gives detailed information on copies known and seen.