This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1876 Excerpt: ...which, in quantity, arrangement, and general interest, at once resumes and surpasses the results of any preceding labour of the same kind. I am glad to be able to refer those who are curious in the early lyrical and musical history of England to a work so readable and so thoroughly trustworthy as Mr. ChappelPs. ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1876 Excerpt: ...which, in quantity, arrangement, and general interest, at once resumes and surpasses the results of any preceding labour of the same kind. I am glad to be able to refer those who are curious in the early lyrical and musical history of England to a work so readable and so thoroughly trustworthy as Mr. ChappelPs. Dismissing, as I must now do, this remote though interesting period of English musical history, it is certain that England gave birth, early in the fifteenth century, to a composer who has been more often alluded to, and always respectfully, by Continental musical historians and critics than any other native of these islands whatever. John Dunstable, who died in 1458, attained A so great a reputation as a composer and teacher that the very invention of counterpoint or concerted music has gravely been attributed to him. Indeed, even at this distance of time, at the end of four hundred years, his name has not lost its Continental reputation: for a French archaeologist (M. Stephen Morelot) has recently (in 1856) deciphered and printed two of Dunstable's compositions which he had discovered in the public library at Dijon in Burgundy. From the beginning of the sixteenth century, down to our own time, the list of English musicians presents an unbroken succession of names. The last years of the sixteenth and the first of the seventeenth centuries form what might be called the golden age of English music--the age, for all musical Europe, of the Madrigal. Nowhere was the cultivation of that noble form of pure vocal music, whether in composition or performance, followed with more zeal or success than in our own. Our great masters in this branch of art are exactly contemporaneous too with those of Italy, --not subsequent, but exactly contemporaneous. With the se..
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Add this copy of The Third Or Transition Period of Musical History, to cart. $56.22, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 2010 by Nabu Press.