The fate of William Byrd, Palestrina’s somewhat younger, longer-lived English contemporary, was rather different. He was a far more versatile composer, adept in every contemporary genre both sacred and secular, who made an important contribution to the early development of instrumental chamber and keyboard music, realms about as far removed from Palestrina’s sphere of interest and influence as can be imagined. In this chapter, however, we will concentrate on the side of Byrd’s output that overlapped with Palestrina’s, and on his position as a late—arguably, the very latest—great master of polyphonic service music in the Catholic tradition, of all European musical traditions the most venerable.
- Citation (MLA):
- Richard Taruskin. "Chapter 16 The End of Perfection." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 26 May. 2013. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 16 The End of Perfection. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 26 May. 2013, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 16 The End of Perfection." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 26 May. 2013, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016008.xml