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Since the days in the early twentieth century when the study of
pre-Reformation English music first became a serious endeavour, a
conceptual gap has separated the scholarship on English and
continental music of the late fifteenth and early sixteenth
centuries. The teaching which has informed generations of students
in influential textbooks and articles characterizes the musical
life of England at this period through a language of separation and
conservatism, asserting that English musicians were largely unaware
of, and unaffected by, foreign practices after the mid-fifteenth
century. The available historical evidence, nevertheless,
contradicts a facile isolationist exposition of musical practice in
early Tudor England. The increasing appearance of typically
continental stylistic traits in mid-sixteenth-century English music
represents not an arbitrary and unexpected shift of compositional
approach, but rather a development prefaced by decades of
documentable historical interactions. Theodor Dumitrescu treats the
matter of musical relations between England and continental Europe
during the first decades of the Tudor reign (c.1485-1530), by
exploring a variety of historical, social, biographical,
repertorial and intellectual links. In the first major study
devoted to this topic, a wealth of documentary references scattered
in primary and secondary sources receives a long-awaited collation
and investigation, revealing the central role of the first Tudor
monarchs in internationalizing the royal musical establishment and
setting an example of considerable import for more widespread
English artistic developments. By bringing together the evidence
concerning Anglo-continental musical relations for the first time,
along with new documents and interpretations concerning musicians,
music manuscripts and theory sources, the investigation paves the
way for a new evaluation of English musical styles in the first
half of the sixteenth century.
Since the days in the early twentieth century when the study of
pre-Reformation English music first became a serious endeavour, a
conceptual gap has separated the scholarship on English and
continental music of the late fifteenth and early sixteenth
centuries. The teaching which has informed generations of students
in influential textbooks and articles characterizes the musical
life of England at this period through a language of separation and
conservatism, asserting that English musicians were largely unaware
of, and unaffected by, foreign practices after the mid-fifteenth
century. The available historical evidence, nevertheless,
contradicts a facile isolationist exposition of musical practice in
early Tudor England. The increasing appearance of typically
continental stylistic traits in mid-sixteenth-century English music
represents not an arbitrary and unexpected shift of compositional
approach, but rather a development prefaced by decades of
documentable historical interactions. Theodor Dumitrescu treats the
matter of musical relations between England and continental Europe
during the first decades of the Tudor reign (c.1485-1530), by
exploring a variety of historical, social, biographical,
repertorial and intellectual links. In the first major study
devoted to this topic, a wealth of documentary references scattered
in primary and secondary sources receives a long-awaited collation
and investigation, revealing the central role of the first Tudor
monarchs in internationalizing the royal musical establishment and
setting an example of considerable import for more widespread
English artistic developments. By bringing together the evidence
concerning Anglo-continental musical relations for the first time,
along with new documents and interpretations concerning musicians,
music manuscripts and theory sources, the investigation paves the
way for a new evaluation of English musical styles in the first
half of the sixteenth century.
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