Serveur d'exploration sur William Byrd

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William Mundy’s ‘Vox patris caelestis’ and the Accession of Mary Tudor

Identifieur interne : 000033 ( Main/Exploration ); précédent : 000032; suivant : 000034

William Mundy’s ‘Vox patris caelestis’ and the Accession of Mary Tudor

Auteurs : John Milsom

Source :

RBID : ISTEX:15709E3908989C7BF73A1A59FFF018F31BDFEDE2

English descriptors

Abstract

The verbal text of William Mundy’s six-voice Vox patris caelestis, which is on the theme of the Coronation of the Virgin Mary, was previously thought to be anonymous. It is here revealed to be by the Catholic priest-musician William Forrest (fl. 1530–81), whose other writings largely address members of the Tudor royal family. Drawing on evidence within both Forrest’s text and Mundy’s musical setting, this study explores the possibility that Vox patris was written expressly for Mary Tudor following her proclamation as queen of England in July 1553. Close attention is paid to connections between Forrest’s text and the topics conventionally used in civic pageantry staged for the coronations of English queens. This leads to the hypothesis that Vox patris was composed specifically for use on the day before Mary’s coronation, when the queen and her entourage processed in triumph through the streets of London, stopping on the way to watch pageants and other performances mounted in her honour.

Url:
DOI: 10.1093/ml/gcp091


Affiliations:


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Le document en format XML

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<term>Harley</term>
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<term>Household chapel</term>
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<term>Ineunte conceptionis tuae instanti</term>
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<term>John milsom</term>
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<term>John taverner</term>
<term>Kerry mccarthy</term>
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<term>Longinqua miseriis plenum</term>
<term>Magnificent work</term>
<term>Main text</term>
<term>Maister heywod sate</term>
<term>Manuscript chronicle</term>
<term>Manuscript source</term>
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<term>Mary tudor</term>
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<term>Mihi amabilissima annae prolis</term>
<term>Modern concept</term>
<term>Modern edition</term>
<term>Monstravero tibi</term>
<term>Monte mundano quaquam altissimo humanae contemplationis</term>
<term>Mortal body</term>
<term>Mortali</term>
<term>Moste</term>
<term>Motet</term>
<term>Mulliner book</term>
<term>Mundy</term>
<term>Music book</term>
<term>Music letter</term>
<term>Music tutor</term>
<term>Musical content</term>
<term>Musical performance</term>
<term>Musical time</term>
<term>National biography</term>
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<term>Noblest esther</term>
<term>Nostra talus sonante gratia</term>
<term>Odor unguentorum tuorum super</term>
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<term>Omnes caeli cive</term>
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<term>Other pageant</term>
<term>Other performance</term>
<term>Other source</term>
<term>Pageant</term>
<term>Pageantry</term>
<term>Palles church</term>
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<term>Tota pulchra</term>
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<term>Vertuous queene</term>
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<term>Vine</term>
<term>Vineae</term>
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<term>Vineae florentes odorem caelestis ambrosianae dulcedinis dederunt</term>
<term>Vineae florentes odorem dederunt</term>
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<term>Virgo sacratissima maria</term>
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<term>Votive antiphon</term>
<term>Westminster abbey</term>
<term>William forrest</term>
<term>William mundy</term>
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<term>Wolsey</term>
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<div type="abstract">The verbal text of William Mundy’s six-voice Vox patris caelestis, which is on the theme of the Coronation of the Virgin Mary, was previously thought to be anonymous. It is here revealed to be by the Catholic priest-musician William Forrest (fl. 1530–81), whose other writings largely address members of the Tudor royal family. Drawing on evidence within both Forrest’s text and Mundy’s musical setting, this study explores the possibility that Vox patris was written expressly for Mary Tudor following her proclamation as queen of England in July 1553. Close attention is paid to connections between Forrest’s text and the topics conventionally used in civic pageantry staged for the coronations of English queens. This leads to the hypothesis that Vox patris was composed specifically for use on the day before Mary’s coronation, when the queen and her entourage processed in triumph through the streets of London, stopping on the way to watch pageants and other performances mounted in her honour.</div>
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