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Title: Syncopation in English music, 1530-1630 : 'Gentle Daintie Sweet Accentings' and 'Unreasonable Odd Cratchets'
Author: McGuinness, David
Awarding Body: University of Glasgow
Current Institution: University of Glasgow
Date of Award: 1994
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This study is concerned with the concepts and uses of syncopation prevalent in England from the sixteenth century into the seventeenth. The treatment of syncopation in contemporary writings on music is discussed in depth through all the known English sources and a cross-section of Continental works. The purely theoretical definitions are joined by advice to composers, relating syncopation to dissonance treatment, and to performers, pointing out the need to persist against the movement of the tactus. English discant on a plainsong, however, has its own tradition of rhythmic vocabulary, based on repeated formulae of various lengths which are played against the tactus, and these remained a part of compositional training long after the practice itself had fallen from fashion. The remainder of the study develops an analytical technique for the repertory of the period with respect to syncopation, beginning with metrical psalm and hymn tunes from Coverdale through the 'Old Version' psalters of the 1550s and 60s, to the psalters of East and Alison. In this context, the rhythmic structure of the tunes of Tallis and Gibbons, misrepresented throughout the twentieth century, becomes clear. The analysis of consort songs, including Byrd's 1588 collection and the solo songs in Gibbons's 1612 set, yields a technique to help identify the instrumental interludes in some of Gibbons's songs. Also discussed are Morley's two-part canzonets (with a new edition of the instrumental fantasias), Tye's English anthems, and the Fantasies of Three Parts by Gibbons.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available