Cantus Firmus Procedures in the Eton Choirbook
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Abstract
The music in the Eton Choirbook presents a we:tlth of information regarding late fifteenth-century English compositional practice which until now has received little close attention. This study explores aspects of compositional practice through analysis of cantus firmus procedures within the Choirbook. The use of a cantus firmus in the Eton Choirbook is investigated in the works of the most prolific (and perhaps creative) composer, John Browne, in the
The study has been enriched by the discovery of the identity of four cantus firmi in
compositions by Banester, Davy, Wylkynson and Browne. In addition, a new source for
coumerpoints to the
John Browne incorporates a
The employment of a
The inclusion of a pre-existent melody is explored further in the Eton
Critical analyses of compositions in the Choirbook reveal that the presence of a cantus firmus seems to be used to articulate the sense of and reinforce the impact of ideas in the set text in a number of the Eton compositions. This offers a new theoretical perspective to the understanding of the manner in which a cantus firmus may be incorporated in late fifteenth-century English music.
The Appendices include editions of ten unpublished fragmentary compositions in the Eton Choirbook and transcriptions of the three principal sources for the mensural counterpoints to the