Dunkeld Music Book (GB-EdU MS64)
Alistair Warwick received a distinction for his Masters dissertation in Music at the University of Surrey (1998) on the Dunkeld Music Book (otherwise known as the Dowglas-Fischer or Lincluden Partbooks GB-EdU MS 64); research was supervised by Dr Owen Rees.
The first five chapters are now online (although music examples are still to be converted and added); the final chapter and end-matter will be published in due course.
- Abstract (this page)
- Chapter 1: Historical and liturgical context
- Chapter 2: The manuscript source
- Chapter 3: The anonyma
- Chapter 4: Text truncations
- Chapter 5: The supposed link between the Masses Fera pessima and Cantate Domino
- Chapter 6: Issues of date and authorship
The edition of Te sanctum Dominum referred to in the text will be published here in due course, complete with critical commentary.
The complete text of the dissertation is being prepared for publication on this website. It is also available for viewing in Glasgow, Scotland. The Abstract from the dissertation (slightly modified) is reproduced below.
One of the more important surviving manuscript sources of music from 16th-century Scotland is the Dunkeld Music Book (consisting of five of an original six partbooks) now located in Edinburgh University Library.
In addition to mass propers by continental composers for feasts of the Blessed Virgin Mary and the apostle Peter, copied from 1540s Attaingnant prints and other contemporary sources, it contains a fragment of the Mass Jesu Christe by the English composer Thomas Ashewell (b c. 1478, d after 1513) and a number of anonymous pieces, including two mass settings (Cantate Domino and Felix namque) probably from Scotland.
This dissertation takes another look at the manuscript, placing it in its historical and liturgical context. The manuscript's description has previously been somewhat lacking in detail; a more complete picture is given here.
The wider practice of text truncation in Mass settings from the British Isles receives attention here since the settings in the partbooks contain highly unusual cuts – not only in the Credo but also in the Gloria.
The recent ascription of the Cantate Domino Mass to Robert Carver is questioned with especial regard to the four-note motive which has been suggested as showing that this Mass is linked to one by Carver. The origins of the Mass's cantus firmus is treated.
The recently-ascribed Lincluden provenance is questioned, as is that of the anonymous pieces within the manuscript.
A link is proposed concerning Robert Dowglas and the Chapel Royal.
Among the anonyma is Te Sanctum Dominum, a motet for eight voices. As a result of his research, Alistair Warwick has provisionally identified Nicholas Gombert as the composer of this work. A critical edition of the prima pars appears in the dissertation.
Until the complete dissertation is published on this website, you can read this dissertation (including the edition of Te sanctum Dominum) at The Scottish Music Centre in Glasgow, Scotland.
The dissertation is cited in 'Catalogue of liturgical books and fragments in Scotland before 1560' by Stephen Mark Holmes, in Innes Review. Volume 62, Issue 2, Page 127-212, ISSN 0020-157x, Available Online November 2011: http://dx.doi.org/10.3366/inr.2011.0016