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John Taverner

- His Life and Music

Bag om John Taverner

John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of TavernerΓÇÖs complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of TavernerΓÇÖs place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of TavernerΓÇÖs predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listenerΓÇÖs point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9781138256354
  • Indbinding:
  • Paperback
  • Sideantal:
  • 352
  • Udgivet:
  • 6. marts 2017
  • Størrelse:
  • 232x156x28 mm.
  • Vægt:
  • 532 g.
  • 8-11 hverdage.
  • 16. december 2024
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Forlænget returret til d. 31. januar 2025

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Beskrivelse af John Taverner

John Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of TavernerΓÇÖs complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of TavernerΓÇÖs place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of TavernerΓÇÖs predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listenerΓÇÖs point of view, initially through close analytical inspection of the celebrated votive antiphon Gaude plurimum.

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