THE ENGLISH KEEP THINGS HIGH
The musical cult of Mary reached its zenith in the place where the new-style motet began, in England. As usual, precious little pre-Reformation source material survived the sixteenth-century holy wars, but just as with the Old Hall manuscript at the front end of the century, a single enormous volume survives to tell us about British worship music at the back end. That book is the so-called Eton Choirbook, compiled for evensong (Vespers) services at Eton College during the reign of Henry VII (1485–1509), the first Tudor king of England, but containing a repertory that had been forming since Dunstable’s time. (A motet by Dunstable himself is listed in the index to the manuscript, but about half of the original contents, including Dunstable’s work, is lost.)
- Citation (MLA):
- Richard Taruskin. "Chapter 13 Middle and Low." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 7 Dec. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 Middle and Low. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 7 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 Middle and Low." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 7 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-013003.xml