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An investigation of the Latin motet in Elizabethan England involves the student from the start in a historical problem of some elegance. He is dealing here with a major art-form under peremptory death sentence—the main musical form of the Reformation period, indeed, and like all the arts of the Roman Catholic liturgy, now at the reformers’ mercy. Far from bowing to the sentence, the motet continued to exist; adapted itself with some tact; appeared for the first time in print; and in the work of William Byrd multiplied itself to an extent and in a quality unmatched in English music.
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