Though individual pieces from the late fifteenth century are widely
accepted as being written for instruments rather than voices, they
are traditionally considered as exceptions within the context of a
mainstream of vocal polyphony. After a rigorous examination of the
criteria by which music of this period may be judged to be
instrumental, Dr Jon Banks isolates all such pieces and establishes
them as an explicit genre alongside the more commonly recognized
vocal forms of the period. The distribution of these pieces in the
manuscript and early printed sources of the time demonstrate how
central instrumental consorts were to musical experience in Italy
at this time. Banks also explores the social background to Italian
music-making, and particularly the changing status of
instrumentalists with respect to other musicians. Convincing
evidence is put forward in particular for the lute ensemble to be a
likely performance context for many of the surviving sources. The
book is not intended to be a prescriptive account for the role of
instruments in late medieval music, but instead restores an
impressive but largely overlooked consort repertory to its rightful
place in the history of music.
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