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Contents

Music from the Earliest Notations to the Sixteenth Century

THE FIRST ENGLISH COSMOPOLITE

Chapter:
CHAPTER 16 The End of Perfection
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY
Author(s):
Richard Taruskin

The religious predicaments of the Elizabethan period and its steadily eroding religious “settlement” were epitomized in the recusant William Byrd’s long career as the country’s foremost musician, a career that spanned virtually the whole of Elizabeth’s reign. At the beginning, Elizabeth’s tolerance of ritualism within the Church of England made it possible for a high art of Latin polyphony to flourish again. Yet it was a changed art nevertheless. It had been affected—one might even say contaminated—by continental styles, and proudly so. Byrd was the great protagonist of this change, which in the face of English withdrawal from the universal church might seem a bit paradoxical. Yet it reflected in its particular domain the same heightened cultural commerce with continental Europe that distinguished the Elizabethan age generally.

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. 25 Apr. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016010.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 25 Apr. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016010.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 25 Apr. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016010.xml
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