USC Thesis Other. The early Tudor part-song from Newarke to Cornyshe. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Copyright in the Dissertation held by the Author. All rights reserved. Robert H ; under the guidance of h. General Notes on Add.
John Browne Richard Davy Robert Payrfax Edmund Turges Thomas Parthynge William Cornyshe Clefs and Voices Key Signatures Chromatics and Musica Picta Original Notes and Their Reduction Ratio. Subsidiary Symbols and Words General Mensuration Coloration β Triplets and Duplets. Specific Mensuration. Problems in Add. Additional Remarks on the Notation of MS. V PAGE kk k. IO6 Clefs and Voices IO6 Key Signatures and Chromatics. Ill General Mensuration Problems in Add.
Early Renaissance English Vocabulary Declamatory Rhythm in Add. Metrical Considerations in Add. General Summary of Rhythmic Factors. Melody in the Early Tudor Part-Song. Conjunct and Disjunct Motion Motion Following Disjunct Intervals. The Melodic Curve. Repeated Notes General Summary of Melodic Factors. Modal-Tonal Factors. Consonant Intervals and Their Harmonic Implications When this writer was a resident university student, he developed an early interest in the secular music of the Elizabethan era, an interest which eventually began to focus on the question of the origins and sources of the English madrigal and its related forms.
The reason, apparent to those who have made more than a cursory study of 16th-century English music, is that information concerning both music and composers is scarce, general, and sketchy. Too little is known about 16th-century secular music in England prior to , when the first publications of William Byrd and Nicholas Yonge appeared, nor does the present study contemplate any attempt to fill in the histcoy 2 of the entire century; such a goal would constitute the scope of several major projects.
But a beginning must be made, and this study will deal chiefly with the early Tudor era, roughly li. The problem, then, as herein conceived, is two-fold: a to produce from original sources adequate modern transcriptions of a representative cross-section of secular part-songs from the early Tudor period, including all extant compositions by William Newarke, Robert Payrfax, Thomas Farthynge, and William Cornyshe ; and b through careful examination, analysis, and comparison of the resulting scores, to develop an integrated commentary upon the style and practices of the period, particularly in their dynamic aspects.
