Medieval British composer John Cooke is among the few composers within the Aged Hall Manuscript on the subject of whom we realize something. He’s displayed by nine items in that resource as “Cooke”; yet another, incomplete manuscript of 1 of his two configurations from the Credo provides his first preliminary as “J,” resulting in the generally approved speculation that his first name was John. Even though name was common in middle ages England, he’s identifiable having a vocalist who attained Cambridge in 1402 or 1403. Cooke sang within the choir from the Chapel Royal, was raised towards the position of chaplain in 1413, and in 1415 he was area of the retinue that adopted Henry V in to the fight of Agincourt. In 1417, Cooke was called a canon from the chapel of Hastings, but by 1419 he was out of most of his articles; as an unfamiliar hand unsuccessfully attemptedto erase a few of Cooke’s compositions from your Aged Hall, the assumption is that Cooke experienced some kind of fall from elegance. Afterwards, there are many John Cookes around the rolls with whom he could be recognized — one applicant, a layman within the Chapel Royal who passed away in 1455, continues to be ruled out. Nevertheless, the person who most likely was John Cooke the composer resulted in as a vocalist in St. Paul’s Cathedral in 1426 and offered there until his loss of life in 1442, also briefly reaching the position of vice cardinal. Cooke can be represented with an increase of frequency within the Aged Hall than every other composer aside from Leonel Power and Thomas Damett. Cooke’s functions are located both in the “outdated” and “brand-new” layers from the Aged Hall, and he might have been involved with compiling this supply. Cooke’s compositions highly reflect the impact of Power, and his most well-known work may be the isorhythmic motet Alma proles regia/Christi mules/Ab inimicus nostris, which might have some inner historical relationship towards the Agincourt campaign.