JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. Early English Church Music is a fine the publication of thoseMasses not yet new series publication to add to the swellmade available. Thus, with the laudable ing ranks of those editions which may be aim of filling in lacunae taking precetaken off the library table and into the dence over making new and improved concert hall, choir loft, or living room. editions of older and out of print publica-The editors intend to publish "modern tions, the two Masses selected for the first editions of all early sacred music in Britvolume are compositions by lesser English ain from the Norman Conquest to the worthies, Richard Alwood (fl. early 16th Commonwealth" in a manner combining c.) and Thomas Ashewell (d.c. 1518?). high scholarly standards with practical Alwood's 6-part "Praise Him Praiseperformance requirements. If the goals worthy" is notable mainly for the unof this tremendous project are achieved, believable tenacity with which the dull a great service will have been rendered, little cantus firmus figure repeats and resince there is a large gap in publication peats itself in ostinato fashion. Of unof English pre-Baroque sacred works, and known origin, this motive is unusually many earlier editions of music from this brief and limited in scope (f-g-a-bb-arepertory are now either out of print or rest). It is confined mainly to the mean quite outdated and certainly not intended voice, where it is varied ingeniously for the performer's eye. The first two enough, but if this obvious constructive volumes of the series are happily charelement were not enough to insure strucacterized by a compact octavo format and tural unity, Alwood also opens three out clear musical typography, as well as the of four movements with the same headsuccinct presentation of a sensible and motive. The texture tends to be so thick sound editorial policy; the only negative that imitation, while it is a consistent factor is a rather prohibitive price. feature, cannot be said to be an important Volume 1, edited by John D. Bergsagel, source of phrase articulation; it is decoraconsists of two Masses from the Forrest-tive rather than structural. Along with Heyther manuscript part-books, an im-this characteristic, individual melodic portant collection of Tudor Masses conlines, while often florid in style, are not taining works by Taverner, Fayrfax, and distinctively shaped. Everything is sub-Hugh Aston, among others. Many of the ordinated to the creation of large and Masses have been published in other resonant tonal structures, and this lush earlier series editions, so that this volume sonority and complex interplay o...
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