ALTERNATIVES TO PERFECTION
But let us conclude this chapter with some reminders that perfection, as a standard, is a matter of attitude and values. The ideals implicit in the ars perfecta were not universally shared at any time or in any place, as we have only to glance across the English Channel to discover. When last we looked, English church music had already diverged significantly in style from the continental variety, and the stylistic differences, it was already evident, indicated a difference in attitude. But if Josquin’s style and Cornysh’s already made for a striking contrast, just compare two excerpts from the Sanctus of a Mass by John Taverner (1490–1545), Willaert’s exact contemporary (Ex. 15-8).
- Citation (MLA):
- Richard Taruskin. "Chapter 15 A Perfected Art." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 15 A Perfected Art. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 21 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 15 A Perfected Art." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015011.xml