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Since the days in the early twentieth century when the study of pre-Reformation English music first became a serious endeavour, a conceptual gap has separated the scholarship on English and continental music of the late fifteenth and early sixteenth centuries. The teaching which has informed generations of students in influential textbooks and articles characterizes the musical life of England at this period through a language of separation and conservatism, asserting that English musicians were largely unaware of, and unaffected by, foreign practices after the mid-fifteenth century. The available historical evidence, nevertheless, contradicts a facile isolationist exposition of musical practice in early Tudor England. The increasing appearance of typically continental stylistic traits in mid-sixteenth-century English music represents not an arbitrary and unexpected shift of compositional approach, but rather a development prefaced by decades of documentable historical interactions. Theodor Dumitrescu treats the matter of musical relations between England and continental Europe during the first decades of the Tudor reign (c.1485-1530), by exploring a variety of historical, social, biographical, repertorial and intellectual links. In the first major study devoted to this topic, a wealth of documentary references scattered in primary and secondary sources receives a long-awaited collation and investigation, revealing the central role of the first Tudor monarchs in internationalizing the royal musical establishment and setting an example of considerable import for more widespread English artistic developments. By bringing together the evidence concerning Anglo-continental musical relations for the first time, along with new documents and interpretations concerning musicians, music manuscripts and theory sources, the investigation paves the way for a new evaluation of English musical styles in the first half of the sixteenth century.
This text surveys all aspects of the Church's structure, role and relationship with the laity in the period 1485 to 1529. The picture that emerges is far from the corruption and instability of conventional wisdom and the varied sources also provide a vivid insight into Tudor life.
Contains 29 pieces from mid 16th century, edited from part books in British Library, Royal Appendix 74-76.
David Starkey's Music and Monarchyoffers us a new history of Britain through music, showing how the Royal Court shaped the musical landscape in ways that speak directly to our national identity. Many of our current musical symbols of nationhood - from the 'Last Night of the Proms' to football terraces erupting in song - have their origins in the way the Crown deliberately shaped the national soundtrack. This is a story of song and power, exploring how Henry VIII subverted the Reformation he started by protecting a sacred choral tradition he loved; how Henry Purcell's music was designed to help make Charles II more palatable to his subjects; how opera in Georgian London is a story of political infighting between the King and his son; and how the coronation of Elizabeth II, and the music of Vaughan Williams, represented the last dramatic moment of Church and State coming together in all its grandeur. David Starkey's Music and Monarchywill change the way you hear our country's most iconic musical masterpieces.
This wide-ranging and comprehensive study includes discussion of street and minstrel music, court and household music, music for organ and virginals, for the Prayer Books of Edward VI, and the Latin music of Mary and Elizabeth. David Wulstan brings together all the well-known composers such as Tallis, Byrd, Gibbons and Taverner, plus many of the less well-known names. He deals extensively with the question of interpretation for performance, giving his own opinions on the problems of pitch, notation and editing music. -- Book jacket.