: Shakespeare and Music With Illustrations from the Music of the 16th and 17th centuries by Naylor Edward W Edward Woodall - Music and literature; Shakespeare William 1564-1616 Knowledge Music; Music 16th century History and criticism; Music 17th century His

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We find, on p. 208, that both Philomathes and Polymathes are young University gentlemen--looking forward hereafter to be "admitted to the handling of the weightie affaires of the common wealth."

The lessons end with their request to the master to give them "some songes which may serve both to direct us in our compositions, and by singing them recreate us after our more serious studies."

Thus we find that in Elizabeth's reign it was the "custom" for a lady's guests to sing unaccompanied music from "parts," after supper; and that inability to take "a part" was liable to remark from the rest of the company, and indeed that such inability cast doubt on the person having any title to education at all.

We find that one music master was accustomed to have his gentleman pupils so constantly "in his company" that they would practise their singing while "walking in the fields."

Finally--that part-singing from written notes, and also the extempore singing of a second part to a written plainsong, was a diversion of such young University gentlemen, and was looked on as a proper form of recreation after hard reading.

Anne Boleyn was an enthusiastic musician, and, according to Hawkins, "doted on the compositions of Jusquin and Mouton, and had collections of them made for the private practice of herself and her maiden companions."

There is also a letter from Queen Catherine , the mother of Queen Mary, in which she exhorts her "to use her virginals and lute, if she has any."

As for Elizabeth, there is abundant evidence that she was a good virginal player.

The best known MS. collection of virginal music has at least always been known as Queen Elizabeth's Virginal Book, and the following quaint story is quoted by Hawkins from Melvil's Memoirs .

"The same day, after dinner, my Lord of Hunsdean drew me up to a quiet gallery that I might hear some music , where I might hear the queen play upon the virginals. After I had hearkened a while I took by the tapestry that hung before the door of the chamber, and stood a pretty space, hearing her play excellently well; but she left off immediately so soon as she turned her about and saw me. She appeared to be surprised to see me, and came forward, seeming to strike me with her hand, alledging she was not used to play before men, but when she was solitary to shun melancholy."

Thus we find that in the 16th and 17th centuries a practical acquaintance with music was a regular part of the education of both sovereign, gentlemen of rank, and the higher middle class.

There is plenty of evidence, though more indirect in kind, that the lower classes were as enthusiastic about music as the higher. A large number of passages in contemporary authors shows clearly that singing in parts was a common amusement with blacksmiths, colliers, cloth-workers, cobblers, tinkers, watchmen, country parsons, and soldiers.

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