'Tudor Partbooks' has two main objectives: to transform public and scholarly access to Tudor musical sources from the 1520s to the 1580s, particularly through the publication of restored and reconstructed facsimiles of key manuscripts; and to advance our understanding of this corpus of manuscripts and their palaeographical and contextual interrelationships by answering a number of key research questions that can only be addressed with the exceptional document access created by this project. Achieving these objectives is predicated upon digitization of the English polyphonic sources from the lifetimes of Henry VIII and his daughter Elizabeth I. The manuscripts to be investigated include: early sixteenth-century choirbooks (already digitized); Henrician partbook sets Forrest-Heyther, Royal Appendix 45-8 and Peterhouse; and the Edwardian sets Lumley and Wanley. But the central witnesses are a cluster of Elizabethan sets copied between the 1560s and the 1580s: Baldwin, Dow, Gyffard, Hamond and Sadler. These partbooks are the dominant witnesses to the Tudor polyphonic tradition, but were copied several decades after many of the works they preserve had been composed, raising doubt as to their reliability as witnesses of earlier practices. Tudor Partbooks will analyse data from across the sixteenth century in order to provide objective evidence with which to address this question. The creation of a comprehensive bank of digital images will enable this to be undertaken through an investigation into notational syntax from the 1500s to the 1580s, alongside a detailed and methodologically consistent study of the manuscripts themselves. Tudor Partbooks will achieve its principal objectives through a range of publications which will in turn fulfil a wider range of secondary aims, exploiting the potential of both digital and print formats. Online publication of digital images at the Digital Image Archive of Medieval Music (www.diamm.ac.uk) will give free public access to all the primary sources; two facsimile editions will deploy the research team's technical expertise (in the digital restoration of the badly corroded Sadler partbooks), and its experience in the reconstruction of incomplete polyphony (through the collaborative creation of a replacement Tenor book for the Baldwin partbooks); further outputs will include a PhD thesis on Tudor scribal practices, two editions of early sixteenth-century polyphony, a collaborative book on methodologies and principles of polyphonic reconstruction, contextual studies of Tudor manuscript culture, detailed source studies, and online dissemination of project findings (a VLE on notation, podcasts on digital restoration, and additional materials prepared for the reconstruction workshops). The project team have secured the collaboration of the British Library and the Bodleian Library, the major holders of manuscripts relevant to this project as Project Partners, and of DIAMM for digitization of sources outside major institutional repositories. All images will be delivered online through diamm.ac.uk without additional cost to this project. The British Academy and the Oundle International Festival have also consented to join as Project Partners; the internationally-acclaimed vocal ensemble Stile Antico will act as project collaborators.

The creative industries are crucial to UK social and cultural life and one of the largest and fastest-growing sectors of the economy. Games and media are key pillars for growth in the creative industries, with UK turnovers of £3.5bn and £12.9bn respectively. Research in digital creativity has started to be well supported by governmental funds. To achieve full impact from these investments, translational and audience-facing research activities are needed to turn ideas into commercial practice and societal good. We propose a "Digital Creativity" Hub for such next-step research, which will produce impact from a huge amount of research activity in direct collaboration with a large group of highly engaged stakeholders, delivering impact in the Digital Economy challenge areas of Sustainable Society, Communities and Culture and New Economic Models. York is the perfect location for the DC Hub, with a fast-growing Digital Creativity industry (which grew 18.4% from 2011 to 2012), and 4800 creative digital companies within a 40-mile radius of the city. The DC Hub will be housed in the Ron Cooke Hub, alongside the IGGI centre for doctoral training, world-class researchers, and numerous small hi-tech companies. The DC Hub brings: - A wealth of research outcomes from Digital Economy projects funded by £90m of grants, £40m of which was managed directly by the investigators named in the proposal. The majority of these projects are interdisciplinary collaborations which involved co-creation of research questions and approaches with creative industry partners, and all of them produced results which are ripe for translational impact. - Substantial cash and in-kind support amounting to pledges of £9m from 80 partner organisations. These include key organisations in the Digital Economy, such as the KTN, Creative England and the BBC, major companies such as BT, Sony and IBM, and a large number of SMEs working in games and interactive media. The host Universities have also pledged £3.3m in matched funding, with the University of York agreeing to hire four "transitional" research fellows on permanent contracts from the outset leading to academic positions as a Professor, a Reader and two Lecturers. - Strong overlap with current projects run by the investigators which have complementary goals. These include the NEMOG project to study new economic models and opportunities for games, the Intelligent Games and Game Intelligence (IGGI) centre for doctoral training, with 55+ PhDs, and the Falmouth ERA Chair project, which will contribute an extra 5 five-year research fellowships to the DC Hub, leveraging £2m of EC funding for translational research in digital games technologies. - A diverse and highly active base of 16 investigators and 4 named PDRAs across four universities, who have much experience of working together on funded research projects delivering high-impact results. The links between these investigators are many and varied, and interdisciplinarity is ensured by a group of investigators working across Computer Science, Theatre Film and TV, Electronics, Art, Audio Production, Sociology, Education, Psychology, and Business. - Huge potential for step-change impact in the creative industries, with particular emphasis on video game technologies, interactive media, and the convergence of games and media for science and society. Projects in these areas will be supported by and feed into basic research in underpinning themes of data analytics, business models, human-computer interaction and social science. The projects will range over impact themes comprising impact projects which will be specified throughout the life of the Hub in close collaboration with our industry partners, who will help shape the research, thus increasing the potential for major impact. - A management team, with substantial experience of working together on large projects for research and impact in collaboration with the digital creative industries.