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To understand English music in the fifteenth century is to understand it within the two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. This book argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. Many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice - a practice…mehr

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Produktbeschreibung
To understand English music in the fifteenth century is to understand it within the two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. This book argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. Many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice - a practice which has had, and continues to have, major importance in the ongoing history of European Art Music


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Autorenporträt
James Cook is Lecturer in Early Music at the University of Edinburgh, UK. He works mainly on early music and is especially interested in music of the fourteenth to sixteenth centuries. He is particularly interested in the ways in which musical cultures in this period interact and how expatriate groups (merchants, clergy, and nobility) imported and used music. He is also interested in the representation of early music on stage and screen, be that the use of 'real' early music in multimedia productions, the imaginative re-scoring of historical dramas, or even the popular medievalism of the fantasy genre.