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Published online by Cambridge University Press: 05 October 2014
Thomas Ravenscroft, writing in 1614, said of Thomas Morley:
He (who did shine as the Sunne in the Firmament of our Art, and did first give light to our understanding with his Precepts) be long since come to the Close and Period of his Time; But his posterity, as Starres, receiving light and benefit from his Labours, will (I hope) according to his desire and wishes, entertaine and embracesuch Opinions, as he himself acknowledg'd to be true.
Although primarily a sales pitch for his own book, A Briefe Discourse, his words indicate a strong contemporary respect for Morley's achievemets.Morley's Introduction remained in use long after its publication. Thus, while Roger North, writing in the early eighteenth century, found Morley's dialoguestyle hard-going and considered the work to be ‘stuft with abundance of impertinences,and also with matters, in our practise, wholly obsolete', he had nevertheless used it when young:
I also procured Morley's Introduction; which books [Simpson's Division-Violist (1667) and Compendium of Practical Musick (1659); Charles Butler's The Principles of Musik (1636)] together with constant playing and wrighting, and in London in very edifiing consorts, I became as I thought a master of composition.
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