The harmonic idiom, too, is purely English (well, English-Scandinavian), even in the “French-textured” sections. No continental conductus sports strings of parallel or nearly parallel triads such as Flos regalis blazons forth from the very start. To this extent at least, the English idiom was indeed insular. And to an extent that continental composers may not have felt any need to match, the English seemed to flaunt their insular idiom within the “universal” (i.e., “catholic”) ecclesiastical genres they had adopted.
- Citation (MLA):
- Richard Taruskin. "Chapter 11 Island and Mainland." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 10 Mar. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-011006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 11 Island and Mainland. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 10 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-011006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 11 Island and Mainland." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 10 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-011006.xml