Familiar Renaissance compositions of the sixteenth century tend to unfold in clear sections corresponding to units of text: the poetry of an English madrigal, the lines of a Marian motet by Josquin are reflected by distinctively shaped musical clauses, marked off by a series of imitative voice entrances or some other device. This marriage of music and text was among the legacies of the Renaissance that still shape our thinking today. Music of the late fifteenth century, however, was another story, a representative chapter ...
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Familiar Renaissance compositions of the sixteenth century tend to unfold in clear sections corresponding to units of text: the poetry of an English madrigal, the lines of a Marian motet by Josquin are reflected by distinctively shaped musical clauses, marked off by a series of imitative voice entrances or some other device. This marriage of music and text was among the legacies of the Renaissance that still shape our thinking today. Music of the late fifteenth century, however, was another story, a representative chapter of which was provided by an English manuscript known as the Eton Choirbook. The music collected there often displays a dense, unbroken flow of unaccompanied choral polyphony that is likely to appeal to lovers of pure sound -- to those who revel in music's surface textures. John Browne, who was active around 1490, provides a strking example of this style: Tallis Scholars director Peter Phillips, in his liner notes to John Browne: Music from the Eton Choirbook, rightly calls his music...
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Add this copy of Browne, J. : Music From the Eton Choirbook to cart. $6.97, fair condition, Sold by Service First Media rated 4.0 out of 5 stars, ships from Taylorsville, KY, UNITED STATES, published 2005 by Gimell.
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Add this copy of Music From the Eton Choirbook to cart. $12.33, like new condition, Sold by Book Trader Cafe rated 4.0 out of 5 stars, ships from NEW HAVEN, CT, UNITED STATES, published 2005 by Gimell.
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