Angel Song: Medieval English Music in History

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Contents
Introduction 'Merrie England', Cultural Memory and the Writing of English Musical History
Chapter 1 'The greatest musical curiosity extant': 'Sumer is icumen in' and the Canon of English music
Chapter 2 Anglicus angelicus: Was English Music Political?
Chapter 3 Authorship, Musicianship and Value in Medieval English History
Chapter 4 Who was John Dunstaple?
Chapter 5 Negotiating Identity in Medieval English Music: Anxiety and Ethnicity
Chapter 6 Contenance angloise: A Reappraisal
Epilogue

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Although medieval English music has been relatively neglected in comparison with repertoire from France and Italy, there are few classical musicians today who have not listened to the thirteenth-century song ‘Sumer is icumen in’, or read of the achievements and fame of fifteenth-century composer John Dunstaple. Similarly, the identification of a distinctively English musical style (sometimes understood as the contenance angloise) has been made on numerous occasions by writers exploring the extent to which English ideas influenced polyphonic composition abroad. Angel song: Medieval English music in history examines the ways in which the standard narratives of English musical history have been crafted, from the Middle Ages to the present. Colton challenges the way in which the concept of a canon of English music has been built around a handful of pieces, composers and practices, each of which offers opportunities for a reappraisal of English musical and devotional cultures between 1250 and 1460.

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