THE leadership in European music during the latter half of
the fourteenth century passed from France to Italy, but during
the early years of the fifteenth century English influence became
predominant, and mainly through the genius of John Dunstable§
[d. 1453] profoundly affected later composers.

English music of this period, except for that of Dunstable, is
mostly represented in a large collection known as the Old Hall
MS., compiled c. 1420, containing nearly 150 pieces, most of
which are mass settings. The styles of composition are conduc-
tus, treble-dominated, isorhythmic, and cattle-influenced--
that is, two upper voices, either in canon or much more
animated than the lower voice or voices. The first two styles
are the most common, the conductus settings being either
simple, as in the thirteenth-century type, or ornamental, as in
the Italian Ars Nova madrigal, and the treble-dominated
pieces occasionally indulge in the kind of rhythmic complexity
discussed in the previous chapter. This latter, together with the
use of isorhythm and canon, shows that England was less
insular than is usually made out. The prevalence of conductus
style, however, indicates a conservatism which the example of
Dunstable did nothing to alter; indeed, he can hardly have
been known in Britain, as practically all his work is contained
in manuscripts scattered about the Continent, notably those at
Aosta, Modena, and Trent (all in Italy), only one piece, the
very beautiful motet, Veni Sancte Spiritus--Veni Creator,§ being
in the Old Hall MS., where it is given as anonymous.

Of the composers mentioned in the MS. the chief are Leonel
Power§ [d. 1445], Thomas Damett§ [d. 1436], John Cooke [d.
1419?], Byttering,§ Pycard, Nicholas Sturgeon [d. 1454], W.
Typp, Oliver, and Robert Chirbury.§ The pieces by Power,
Damett, Byttering, Chirbury, and the anonymous Credo§ all
listed in Appendix B are in conductus style, Bytterings's motet ^*
and Power Sanctus§ showing the ornamental type. A good
example of treble-dominated style is Power Gloria ( The Old
Hall Manuscript, Vol. I, p. 65, ed. A. Ramsbotham), while

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