ABSTRACT
Relationships between masters and disciples are capable of generating the most sustainable of networks, and musicians in the Early Modern Period were as fond of identifying with long-standing schools of composition and performance as they are on that day. Kerman subsequently acknowledged the contribution of several scholars to an accumulation of evidence pointing to a more refined reading of Byrd's music in relation to the religious politics of his time. Byrd's imitative techniques thrive on the use of irregular intervals of time and pitch. He deploys his motifs in a great variety of contexts and combinations, creating a sense of motivic saturation that may be considered a regular feature of his style. David J. Smith has proposed that Philips's Passamezzo Pavan and Galliard may be regarded as a bridge between William Byrd and Sweelinck, for in them he quotes from Byrd's individual compendium of keyboard figurations, including echo effects also found in Sweelinck's Toccata.
