ABSTRACT
The author discusses the evidence from Catholic networks at home and abroad, beginning with the connections that flowed between William Byrd, Peter Philips and another disciple of Byrd, Thomas Morley, who, like Paston, was of East Anglian provenance. A close analysis of the music in the collection indicates that a great number of transpositions were used in performance. From the point of view of manuscript dissemination, there are many associations that can be implied from the surviving music manuscripts and publications. The music in the Edward Paston collection is usually organized by number of voices or by clef combinations instead of by genre, which suggests that sets of music are contained within the manuscripts for quite specific combinations of instruments and/or voices. The practice of Spanish vihuelists of creating intabulations of short sections from major works, such as the Crucifixus from the Credo of the mass, is a frequent occurrence throughout the partbooks.
