The music of the Englisb composer William Mundy consists for the most part of sacred vocal pieces set to English or Latin texts. None of Mundy's works was printed during his lifetime, and a significant number of the manuscript sources now extant are unique, and in some cases incomplete.
Works available in modern scholarly editions have been consulted in this format. All other pieces have been newly transcribed and edited, and a number form Volume II of this dissertation. A complete list of works, manuscript sources, and modern editions consulted appears in Chapter 2.
Much of the biographical detail in Chapter 1 summarizes data already available: the significant events in William's life are related to the careers of his father Thomas and son John.
The English Anthems, English Services, and works with Latin text are considered in turn. The English Services, in particular, receive detailed consideration through a comparative analysis of the eight complete settings of the Magnificat.
The small group of textless pieces shows iittle musical consensus. While a very few works were clearly written with instruments in mind, the intended mode of performance of the renaining pieces seems open to question.
Ascriptions to "Mundy" are considered in an attempt to distinguish William's work fron that of his son John. The possible existence of a third composer of the same name is also discussed. The final chapter seeks to summarize the essential features of Mundy's style, and to evaluate his contribution to musical developments in sixteenth-century England.
Amendments to modern printed editions and check-lists of manuscrlpt sources appear as appendices, along with a criticai commentary on the transcriptions and exampies contained in Volume II.