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A CRITICAL APPRAISAL OF ENGLISH MADRIGALS CURRENTLY

AVAILABLE IN AMERICAN PUBLICATION

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

William C. Friesen, B. A., B. lus.

Alpine, Texas

August, 1942

100445 AP% 'RRA

100445 TABLE OF CONTENTS

Page LIST OF TABLES ...... iv

LIST OF ILLUSTITIONS...... v

Chapter

I. TEE PROBLE...... * . . . . 1

II. HISTORICAL SURVEY OF THE ENGLISH vADRIGAL...... 4

Origin of the Madrigal Form of the Madrigal Specific Characteristics of the English Madrigal The Development of the English MadriGal Music in the Elizabethan Home Reasons for Learning to Sing The Decline of the English Madrigal Su nary

III. INSTRUMENTS ExPLOYED IN THE SINGING OF ADRIGALS . . . . 23

String Tnstruments Keyboard String Instruments Viols Wind Instruments

IV.*ADIGLSINGING...... 33

Technical Features and Idiom Vocal Range of Madrigals iwuber of Singers Poltphonic SinginG Vocal Techniques Required in Madrigal Singing

V. ENGLISH IvDRIGALS IN AERICAN PUBLICATION ...... 46

APP IX. . * . * . . . . * . . e . . . . . * . . . . . 61

BIBLIOGRAPHY...... 68

iii LIST OF TABLES

Table Page

1. The Number, the FInal Note, and the Melodic Range ...... 36 of Each Mode . * - - . *

2. adrigals Easy to Perform...... ** . .. . 47

3. Maarigals of Mediun Difficulty ...... 51

4. Madrigals Difficult to Perform ...... 55

5. Madrigals Adapted for Chouses ...... 59

iv LIST OF ILLUSTRATIONS

Figure Page

1. The Use of a Sustained Vowel in a Passage Showing tMotion Through the Use of Rapid Notes ...... 8

2. titation Involving a Double Canon...... 9

3. Zuspensions and Long NoTes Denoting Languishing ..0.. 10 Despair.* . .0 . . 0-- 0. 0

4. Irregular Spacing of Words Showing How Symcopation TS Introduced by Means of the Text Rather Than Through the -Rhythmic Structure of the Music ...... 38 C PTER I

TE PROBLEM

The problem of this thesis may be listed as threefold: (1) to

a e critical appraisal and listing of all available English madrigals published and obtainable in the United States at the present time;

(2) to list supplement;ary aerial which would maintain consistent

continuity in a program featuring English madrigals; (3) to present a historical background which might aid in the interpretation and rendi- tion of the music of the Elizabethan era.

For the sake of chronological sequence, the order in Which each of the above problems is dealt mith will be reversed.

By critical appraisal is meant that each of the madrigals appearing in the list ias been carefully inves t igated and analyzed with regard to

he Various vocal and musical criteria that each may present to a group

Washing to perform tem. Ihis means the voice ranges have been indi- cated; harmonic and contrapuntal difficulties have been designated by placing a composition witlain a certain category denoting it as easy,

meiu or difficult; madrigals suited 'or largr choral ensembles have also been specified; and finally, it has been indicated where these madrigals may be obtained. In supplementary appendices solo selections, arrangemefnts, and modern madrial, aEnGish or tmerican, tat -might add variety and uniformity to a madrigal program are listed.

In the historical background an attempt is made to show why tle madrigal became so popular in Elizabethan England, what instruments were 2

employed in the rendition of madrigals, and a word on the technique of performance.

For the source of material the cooperation of the leading music publishers of the United States has been sought. Because new editions are constantly being brought out, it is impossible to say that the list covers all the madrigals published up to the present day. Frequently one finds the same madrigal published by several publishing houses, and when this happens, credit is given to each of the publishers. However, out- side of a few compositions which might have been overlooked by the publisher, practically all the madrigals that are available in the United

States at this time from publishers of major importance have been collected and listed.

In considering this problem of relative difficulty, the investigator has kept in mind the typical high school and college group, although some of the material would undoubtedly interest professional groups. When the singing of sixteenth century madrigals was revived during the past century fcr concert-going audiences, it so happened that small vocal ensembles capable of bringing this type of music to the attention of the public were evidently relatively few in number. Hence, it fell to larger choral organizations to present these madrigals on their concert programs. This fact has probably led some authorities to believe that madrigals sound best when performed by a moderately large chorus. From the research made in connection with this study one comes to the conclusion that the madrigal is essentially a composition written for a small vocal ensemble, preferably

1W. S. Rockstro, Groves Dictionary of Music and Musicians, second edition, III, 18. 3

solo voices. Apparently the madrigal is an ideal type of musical compo-

sition for those students found in nearly every high school and college who are above average in musical ability and attainment, and who need challenging material to develop both vocal technique and musicianship.

The a cappella choir has come to be a permanent part of music educa- tion in America, so that no longer is there much danger that the fine music of the past will be withheld from public audiences. Thus, with all the wealth of talent to be found in our public schools, it would seem logical to presume that the music of the Elizabethans could and should be performed in the manner in which they were first originated. It is the opinion of the investigator that these small groups would probably be composed of the best singers within the a cappella choir. The increasing popularity of madrigal clubs and societies shows that the musical public has already

sensed the value of madrigal singing.

In the light of the present popularity of madrigal groups, this study

is quite pertinent. Until qiite recently, many of the fine madrigals were obtainable only through foreign publishers. The few that were performed were well known both abroad and in this country. At a time when foreign publications can no longer be obtained for some time to come, it is well to know what is available from American publishers.

The findings of this study should prove to be a boon to all those who enjoy performing madrigals, for through the cooperation of the leading music publis ing houses in this country, a complete authoritative list of fine madrigals has been gathered. Many of these will be new both to the performers and the public. CHAPTER II

HISTORICAL SURVEY OF THE ENGLISH MADRIGAL

There is, perhaps, no period in the history of music which

ascended so rapidly to a peak of attainment, and then as suddnely almost

disappeared, as did the era of the Madrigal in England. For the brief

span of little more than half a century, during the Elizabethan era, a

musical culture existed in England unparalleled anywhere on the continent,

and perhaps not equaled in any country since. And yet, there was no marked recognition of the fact at that time. 1

Elizabethans, no doubt, would have been filled with pride had they

realized that both their literature and music had reached a climax not

previously attained and possibly never to be surpassed in their nations

history. It may seem a little strange that the madrigal, a product of

Italy, should reach its highest development at the hands of a people as

iferent in e peramemt, language, and musical experience as the English. 2

To understand the culmination of this whole movement, we must turn our attention to Elizabethan England where music was an indispensable part

of every gentlemants educational and social attainments.3

Why music in England should after a period of a hundred years of comparative silence suddenly spring to life with renewed vigor, and why

IM. C. Boyd, Elizabethan Music and Musical Criticism, p. 92.

2 Theodore 1. Finney, A History of Music, p. 159.

3Sir Frederick Bridge, Lecture on: "Iusic in England in the Year 1604" as found in English 'Lusic (1604-1904), second edition, edited by Frederick J. Crowest, p. 167. 4 5

such a high standard of musical achievement should enjoy such a brief existence are the questions this chapter will attempt to explain. To get the full significance of this period of English music, it will be necessary to trace briefly the development of the madrigal in continental Europe.

It will then be possible to see why this particular form of music reached its highest culmination in England.

Origin of the Madrigal

Historians seem quite generally agreed that, like so many other artistic developments, the madrigal came out of Italy.4 So far as can be ascertained, the term was first employed by the rustics of northern Italy in the early part of the twelfth century and found its way into Italian literature about the beginning of the fourteenth century. It was used at this time in connection with musical compositions of somewhat elaborate style.5 in one sense, the madrigal represented a very definite trend towards music which differed from the traditional style of the Church.

In this sense, reference is made to the "frottola," a street song usually comic or sentimental in character, which symbolized a revolt against the techiical complications of Gothic polyphonic art in favor of the melodic 6 richness and harmonic sweetness so characteristic of Italian music.

The Italian "madrigale," which flourished for a time after its introduc- tion in northern Italy about 1340, apparently died out and was forgotten

4Boyd O,, .tspo.92.

5E. H. Fellowes, The English Madrigal Composers, p. 43.

Finney, op. it., pp. l7-159. 6

until it was revived by Flemish composers soon after the year 1530.7At

this time the characteristics of the "frottola"t gave way to the more

dignified but more popular madrigal, with the result that these new part

songs still retained many of the fundamental polyphonic technical devices.

During the hundred years or so in which the madrigal as a musical

form was apparently forgotten, it still survived in the form of poetry,

which seems to explain the ultimate use of the word "madrigal" for a

particular type of lyric, even though previously the madrigal had had an

exclusive musical significance Hence, it was quite to be expected that

this new secular form of music, which the Venetian composers of the early

sixteenth century revived, should take .its name from the poetry used as

a basis for a new style called the "stilo madrigalesco" in contrast to

the "stilo ecclesiastico." Among the important names at this time are

those of the Flemish composers Arcadelt, Verdelot, de Rore, and Willaert, who, with his pupils that followed him to Venice, is credited with producing

the earliest madrigals.1 0

The exact meaning and origin of the term "madrigal" is a little

difficult to explain, as several variants of the word were commonly used, such as "madriale" or "mandriale," during the interim between the

fourteenth and sixteenth centuries. In the year 1533 the earliest known volume to bear the definite term "madrigali" was published, the volume consisting largely of the works of Verdelot. Following the year 1533, the name "madrigale" was used quite consistently by the composers of the 78 Boyd) op. cit., p. 92. Fellowes, op. cit.,,p. 43.

9Finney, op. cit., p. 157. 1 0 Ibid.

ill P .Wi , 'a - 7

continent, and it was not until English composers took up this new form of writing that we find the first reference made to the word as it is used at the present time.

A specific referenceto the term "madrigal" was made by Nicholas

Yonge who, in describing a work of Byrdts included in Musica Transalpina in 1588, stated that it was definitely a madrigal.I 1 Byrd had used the tern "pastoral" to indicate the English equivalent of the Italian "madrigale."l2

Thomas Morley was the first, however, to use the term on the title page of a set of original compositions of this type entitled, First Booke of

Madrigals to Foure Voyces, published in 1594; "and even he confesses to be at a loss to explain the etymology of the word."1 3

Whatever the early implications of the term might have been, the madrigal in England came to mean a secular composition for unaccompanied voices (two to eight), each singing a separate part,14 although various types of instruments were frequently used to accompany those who sang them' and to substitute for voices. The poetry employed was frequently of an amorous nature, but an examination of various madrigals will show that the text and music were quite often of a philosophic or contemplative natur e. (See Thomas Bateson, "Phyllis Farewell.")

The madrigal was brought to England by Nicholas Yonge, a wealthy merchant who collected continental examples which he published in a work entitled, Musica Transalpina. E. ML. ee, "Madrigals, Rounds, Etc." as found in Frederick J. Crowest, editor, English Music 1604-1904, p.,106.

12For a more complete etymology of "madrigale," see E. H. Fellowes, The English Madrigal Composers, pp. 43-49.

13 Ibid. p. 44. Reference from Thomas Morley, Plaine and Easy Introduction to Practical Music, p. 178.

4 Boyd, op. it*, p 92. 8

Form of the Madrigal

So far as the actual musical design and construction were concerned,

the English madrigalists followed very much the same principles as were

adopted by their continental contemporaries. That is to say, the poly-

phonic idea of imitative passages and the practice of employing one

syllable over a lengthy musical phrase were commonly used, even though

Morley in his Plaine and Easy Introduction to Practical music condemns

the latter practice. (See Fig. 1)

do I rf ' Mr s in a fu ------ry gains t

Mas in a fu,------

ars in a fu------

Fig. l.--The use of a sustained vowel in a passage showing motion through the use of rapid notes, from Thomas Weelkes, Mar's in a Fury.

The music was very closely related to the text. This meant dealing

vith the metrical structure of the words line by line or phrase by phrase,

the work often being divided into well-defined sections wherein a short

phrase was usually repeated. It was the general practice to repeat such

a phrase three times in each voice, this principle being one of the

distinctive features of the stricter kind of madrigal as compared with

its kindred art-forms, the glees and ayres. 1 5 (See Fig. 2)

11 elowe-s OP. it,p.5-3 9

--- a Lw a eweet -m- I-lia

eetA - ~I 'F t7dT A-e d e anil w-slie, A, a. ewrseetA11m

A'Odwfwe t A -ma------

Pr 11Lw 1

dewdewewadewaoll dew& seew sweet

A a- de weet aramrlllis a-dew wadew, sweet A-ma

A a- dew sweet a. mawri 1 U

dew, SWeet Ama-ril - lisa-dew a - dew a - dew, sweet Aerra

Fig. 2.--Illustration showing imitation involving a double canon, one between the two upper voices and one between the two lower voices, and also, the repetition of a phrase three or more times in each verse. ( John Wilbye, Adew, Sweet Amarillis. )

Another feature of the strict madrigal was that all voice parts rarely came together simultaneously at any one point, unless it was vith the intention of emphasizing some well-defined close in the poetry.

By a skillful process of dove-tailing, composers were able to join one 10

section to another. The convention of using a major triad at all full

cadences of importance, examples of which are common with the polyphonic

composers including Bach and Handel, was adhered to by the English 16 madr ialists.

Specific Characteristics of the English Madrigal

The remarkable success and the glorious achievement of the English

Madrigal School may be attributed to several factors: first, their skill displaying in a keen sense of accurate verbal accentuation (see p. 38);

second, their ability to express moods of all kinds through the use of

suggested harmony or dissonance; and third, their employment of a great variety of texture and rhythm. They were able to give color to their musical ideas by semi-pictorial methods, such as the use of rapid musical phrases to suggest flight or motion (Fig. i, p. 8), or by the use of

sustained notes and strongly suspended harmonies suggesting repose or

languishing despair. (See Fig. 3)

77I yo$,Rough, tired th F' I :-LrieA,

0=-F I I I I= Wod livolaw dL!* Pw Thog, hired ------iith riea m fm 1Inow

Fig. 3.--Quspensions and long notes denoting languisiding de pair. (Thomas Weelkes, Your Beauty, It Allureth.)

16 Ibid.,p. 53. 11

It was in this type of detail that the English madrigalists excelled, and they spent time and study perfecting it rather than abiding by the conventions of musical rules or formality of design.1

It seems at best one can only generalize in describing the exact meaning of the term madrigal, since the term is used rather rarely in modern composition. The Elizabethans were very indiscriminate and vague in applying a terminology to the combined secular songs of their time. 1 8 They used terms other than "madrigal," the most distinctive of them being the "ballet," meaning a composition of comparatively regular rhythm in which a "fa-latt refrain was indispensable. The "canzonet" or "little short air," "pastoral," and "Neapolitan" are terms that were frequently used for the secular songs of that period. Orlando Gibbons uses the term "motet" to denote compositions which are undoubtedly madrigals, even though the term is used in a sacred connotation.19

Again, there are those who, in defining the madrigal, have added that it was contrapuntal and modal in style. However, the same thing may be said of most of the sixteenth century music. Many of the English madrigals

(Gibbons, "silver Swan" is a good exariple) are in modern keys rather than in the modes. 2 0

It may be impossible to refer to a madrigal as a definite musical form such as a fugue, sonata or even a symphony, but in general, a madrigal may be thought of as a composition embodying all of the features mentioned previously. While polyphony is a very strong characteristic of the madrigal, there are some exceptions as lorleyts "Sing We and

17elwes op. cit., p. . 1Ibid. 3p 3- 41.

Ibid. p. 34. 2 0 Ibid. p. 39. 12

Chant It," where the counterpoint is not evident except in the "fa-la" refrain. This classes it as a "ballet" which was strictly a feature of the latter part of the madrigalian era. The transition from the strict modal style of composition to the more homophonic type was very gradual so that the term madrigal was a general term used to denote the secular part songs of the Tudor period. The madrigal was definitely a means of bridging the gap between the modal tonality of the sixteenth century and the new modes in music comnonly known as the major and minor scales.2 1

With the invention of new chords, inversions, and chromaticisms, it is quite apparent that the madrigals of the latter period should be more harmonic in structure than the contrapuntal and modal compositions of the early sixteenth century.2 2

The Development of the Einglish Madrigal

With the death of Dunstable in 1453, English music and musicians ceased to be of any significant importance for almost a hundred years.

During this period the only thing worthy of note vas the gradual infil- tration of Flemish methods,23 There are several reasons for the revival of music on such a unrversal scale in England during the latter part of the sixteenth century.

First, the Reformation had a fundamental effect on the course of musical development both on the continent and in England. For thousands of years music had been developed on purely melodic and monodic lines, until it was discovered that melodies could be combined and different

2 1 ellowes, op. p.. 36. bid p. 38.

Finney, ct p.08. 13

notes sung simultaneously with beautiful effects. This new Art remained

for many generations with the clergy and was used almost entirely in

connection with the services of the church.24 When the Reformation came

to Europe, -he technical devices employed in writing sacred music were

released for sacred and secular songs alike.

In England the Reformation had still another effect, in that a new

type of worship service was demanded of composers in contrast to the Mass

of the Roman Church. They continued to write motets, not for the church,

but for private, secular perfornance.25 It would not have been easy

for composers, trained in the techniques of composition then prevalent

on the continent, to change overnight to somethin entirely new. The

secular motet gave composers an outlet for the methods and techniques

in which they were trained, and which had now been forbidden in the.

church. Until the madrigal was introduced, the motet was the most impor-

tant medium for keeping alive the fundamental elements of polyphonic methods used so felicitously in the madrigal.2 6

In the second place, Elizabethan England was blessed with many poets

of high literary calibre. This meant that there was no dearth of lyric material. Since the text of the madrigal is important in determining

the character of the music to be supplied to it, it is evident that a

country specializing in madrigal compositions, as did England, should of

necessity have the lyricists to supply this need. Elizabethan England was very fortunate in this respect, for during this period England was

at he. literary peak. This was the age of Shakespeare, Marlowe, Ben

V. 25 6 ello es, 166. , 8

26Ibid. p. 166. 14

Johnson, Beaumont, and Fletcher. The fact that music and the literary arts were so closely related may be seen by the numerous times that songs are used in the Shakespearean plays. Another poet whose lyrics are to be found in a great many madrigals is Thomas Campian. He wrote both the music and the words of the first part of the volume of Airs which he published in collaboration with Rosseter.2 7

The art of writing lyrics was not confined only to the great poets, for, as in the case of music, it was a mark of breeding and education to be able to compose a rhyme at a moment's notice. Many of the madrigal composers must have taken pride in being accomplished both in verse and

2 8 muSIc. Because the art of writing lyrics was so taken for granted, lyrics were frequently composed without any thought of perpetuating a claim to authorship.29 With such a store of literary material, it is easy to see why the madrigal achieved such success in England.

The third reason for the revival'of music in Elizabethan England probably lies with the English people themselves. In the middle ages the country echoed with song, for music was not confined only to those who made it their profession.3"While musical development seemed to be at a standstill during the hundred years following the death of Dunstable, the English people kept alive the old folk songs that were their heri- tage. When the madrigal was introduced in England, it found in the people and in their love of folk songs and dances, the elements which were to give the spark that later made the madrigal attain such a high peak of development in sixteenth century England. For this reason it

27ellowes,-op. (it*. 140. Ibid. p. 41. Ibid., p. 142 30II. es op.rit.,Pp 40. 28 2 C. A. Harris SThetory of British Mu ic, pp. 8l83. 15

is said that the English madrigal was essentially a product of the

English home.31

Because of their love of vocal music, one can easily understand why the people were so quick in adopting the practices of prevailing musical ideas in their own secular songs as soon as the Reformation removed the bars that had kept musical development solely within the church. During Elizabeth's reign the study of music was universal, both in the court and in the home. It is said that music was the predominant art, and that no subject during this period, not even reli-

(ion, occupied so important a place in the conversation of the day.32

In the upper classes music was definitely an essential part of every gentleman's education, as is well implied in an armusir incident

1 8 recorded by Morley, (See p.- ) The fact that music was not limited to the gentry is indicated by the fact that the musical abilities of boys educated at Bridevell and Christis Hospital were advertised in, recommending them as apprentices and servants. Even up to a century later, Pepys, the diarist, confessed that he chose his servants on the basis of their abilities to -ake part in household music. In 1598 Delonez, in his writings, told how a man trying to masquerade as a shoemaker was detected because of "his inability to sing, sound the trumpet, play the

Slute, and reckon up his tools in rhyme.t33

The large-scale participation in part-singing is shown by records that date back to the time of Chaucer. Chaucer's description of the song of the Pardoner and Summoner or Apparitor is fairly good evidence

pellowe ,op. cit., p. 8.

32D. A. Harris, The Story of British Music, pp. 89-91.

33Tbid. p. 90. 16

to support this point of view:

Ful lowd he sang, "Come hider, love, to me," This Sompnour bar (bare) to him a stif burdoun Was never trompe of half so gret a sown. 34

Music in the Elizabethan Home3 5

It is not always realized that public concerts did not exist in the sixteenth century, and that the performance of secular music was private and was limited to the home. This included all secular music such as instrumental music written for the consort 1 of recorders, or combination of viols, lute, and keyboard instruments, and the Art-song, developed for solo voice with accompaniment. In England particularly, the performance of music in the great houses, built in such numbers during the latter part of Elizabethts reign, was one of the leading features of the domestic life of that period.36 The fine taste for good lyrics that was inherenit in the Elizabethans resulted not only in the composition of fine music, but also in the widespread custom of singing and playing it. "So it was that the newly-rich as well as the old nobility and gentry vied with each other in including music among the many luxurious features of their great houses.,37

A typical example of such a household is Hengrave Hall near Bury

St. Edmunds. Although not one of the largest, it is, nevertheless, a beautiful and characteristic example of a sixteenth century mansion.

311 Harris, p. 90. The Sompnour supported the Pardoner by adding a deep burden or bass, which in all probability was a drone bass or single sustained note.

5E. IT. Fellowes, The English Madrigal, pp. 7-25.

Id p. . 3 7 bid.., p. 10. 17

Built by Sir Thomas Kytson, a wealthy wool trader, it was later improved by his son Sir Thonas who married Elizabeth, the daughter of Sir Thomas Cornwallis. Both Sir Thomas and his wife patronized the arts extensively, and music was richly provided for in their home. A list of instruments

included in an inventory made at tne death of Sir Thomas in 1602 shows a remarkable collection of instruments and books of music in the chamber

where the musicians played.

This list included "one chest of six viols; one chest of six violins; a case containing seven recorders; four cornets; a bass, treble and two meane lutes; one bandore; a cithern; two sackboots; three hoeboys with 38 a curtall and 39 a lysarden; two flutes; one payer of little virginals; one wind instrument like a virginal; two Ilewtingl books; six books,

containing six sets in a book, with songs of four, five, six, seven, and eight parts; five books, containing three sets in a book, with songs of five parts; six books, containing two sets in a book, with English

songs of four, five, and six parts; five books with pavines, galliards, measures and country dances; five books of five part songs; five books

containing one set of Italian "FA-lat s"; one great payer of double virginals in the parlor; and one payer of great organs in the church" 4 0

This fine collection was at the disposal of the "Naster of Musict" for the use of players under his control, some of whom were professional,

While others held domes-ic positions in the house. With such resources on hand, instrumental music would be performed either during or after

38 A short kind of Bassoon.

A serpent, or bass cornet. 40E *H. Fellowes, The English Madrigal, p. 18. 18

supper, and also on gala occasions. It is interesting to note that the

position of "Master of Music" in the house described was at one time

occupied by none other than John ilbye, one of the greatest of the madri gal composers.

In such a household the usual supper hour was 5:30 o'clock.

According to Thomas Morley, writing in 1597, it was the custom for the mistress of the house to "pass out" the part books to her guests after supper and invite them to join with the family in snging madrigals.4 1

DurinG this period madrigals were not published in full score, but in individual parts. This meant that each one was expected to be able to sing at sight any part that was assigned to him, regardless of the partio- ular volce the part was written for. 4 2

The fact that the average educated person was expected to be able to sing or play at sight shows the high level of musicianship existing among the Elizabethans. Reference is often made to Morley's A Plaine and Easie Introduction to Practical Musicke wherein he describes a conversation between a music teacher and his pupil. On this occasion a certain scholar was greatly embarrassed because he refused to commit himself when two of the guests differed hotly on a musical topic. When he declined to debate the issue and take his part in the singing of a madrigal, everyone wondered what sort of upbringing he had received* In order to avoid a similar predicament, he visited a music teacher so that he ight learn not only to take his part in a madrigal, but also to be able to discuss the niceties of musical theory.4

Ibid. p. 19. 4 2 Ibid.

43E. H. Fellowes, The English 1Madrigal Composers, p. 24.

Mlgmm - 19

Reasons for Learning to Sing

With such a wave of musical enthusiasm sweeping sixteenth century

England, one might conclude that music teachers did not need to adver- tise for students. Some advertising was necessary as is seen by docu- ments preserved from this period. In A Plaine and Easie Introduction to

Practical Music it will be noticed that Morley uses some subleties in advertising his own ability as a singing and music teacher.

In his collection of Psalms, Sonets, and Songs of Sadness and Piety published in 1588, William Byrd gives his eight famous reasons why 44 everyone should learn to sing:

1. It is a knowledge easily taught and quickly learned, where there is a good master and an apt scholler. 2. The exercise of singing is delightful to Nature, and good to preserve the health of man, 3. It doth strengthen all parts of the brest, and doth open the pipes. 4 5 4. It is a singular good remedie for a stutting and stammering in speech. 5. It is the best-means to produce a perfect pronunciation, and to make a Good orator. 6. It is the only to know where Nature hath bestowed the benefit of a good Voyce; which gift is so rare, as there is not one among a thousand, that lath it: and in many, that excellent guift is lost, because they want Art to express Nature. 7. There is not any Musicke of Instruments whatsoever, compar- able to that which is mace of the voyces of men, where the voyces are Good, and the same well sorted and ordered. 8. The better the voyce is, the meeter it is to honour and serve God therewith; and the voyce of man is chiefly to be imployed to that ende.

Since singing is so good a thing, I wish all men would learne to singe.

tomnis spiritus laudet Doninum.'

444Boyd, op. cit., p 104.

45Boyd, p. 104. Charles Butler in his Principles of Musik, 1636, Book 2, Chap. 3, Sec. 2, tells us that singing is "asT ecFalmeans to oleere and strengthen the lungs; so that if he also takes outdoor exer- cise, a singing man need never fear the asthma, peripneumonia, or consumption. 20

The Decline of the English Madrigal

It is a strange fact that the Golden Age of Elizabethan music

should end as abruptly as it had begun. The sudden falling off of musical interest can be attributed in some measure to the religious

upheaval that rocked the continent at this time, and from which Puri-

tanism emerged. When James 1 (1603-1625) came to the throne, the temper

of English life began gradually to change in favor of Puritanism which virtually banned art, although it will be recalled that many of the

finest madrigals were written during the years of James reign. Thus, by the time of the Restoration not only was the actual music of the

Elizabethans forgotten, but its methods were no longer understood.

Particularly was this noticeable in the music of the Church where compo- sers were compelled to revise the ritualistic service in favor of the simpler order of service used in the Puritan Church.4 6

it is possible to cite another and more significant reason for the rapid decline of the madrigal as contrasted to its phenomenal rise.

Throughout this period Italy had always ,been looked upon as the leading musical nation of the world. Since Tudor literature and art were so strongly influenced by Italian exemplars, it was natural to expect

English composers to look to Italy for guidance. The madrigal, intro- duced in England at a propitious time, had taken immediate hold with

English composers and the people, and while the earlier specimens were somewhat crude and did not receive a too enthusiastic public response, the madrigal at its height was an artistic, though sophisticated, union of elaborate verse and complex music which appealed to the highly

46Finney, op. ct., p. '172. 21

educated intelligentsia of Elizabethan England." 7

At a time when composers felt that the possibilities of the madri- gal had been exhausted and that it was time to turn their talents to new fields of endeavor, a rival visitor from Italy was again introduced to the

English people - declamatory recitative in the form of the Florentine monodists. This was the beginning of the glorification of the solo

48 singer in England. The madrigal, replaced in Italy by a new type of vocal chamber music with instrumental accompaniment, gradually invaded

England as the Glee, a composition written exclusively for solo voices and of higher aesthetic value than its German representative, the part song.*

It is worth noting at this time that harmonic intervals forbidden in strict counterpoint were tolerated in England at an earlier date than on the continent. The use of the diminished triad occurs frequently in Wilbyets compositions. Because of these practices, the substitution of modern tonalities for the Ecclesiastical modes followed as a matter of course, and the change from the madrigal to the glee was complete.5 0

With the exception of some fine madrigals by Pearsal (1795-1856), it appears that secular unaccompanied compositions after the death of James I were confined to catches in the seventeenth century, glees in the eighteenth, and harmonic part songs in the nineteenth, all of which may be regarded as inferior to the Madrigal.51

4 7 Boyd, op. cit., p. 125. 4 8 Ibid., p. 126.

49Rockstr, op.c t.,pp.17-18. 50Rockstro, op.. cit., II, 16. 22

Summary

In summarizing the findings of this chapter, it has been noted that the madrigal was a secular, unaccompanied, and contrapuntal compo- sition written for two to eight voices. It was a product of the conti- nent and was brought to England in the early sixteenth century. The phenomenal success of the madrigal in England may be attributed first, to the Reformation hich released musical ideas, long held, within the scope of the Church, for use in secular songs; second, to the wealth of lyric writers; and third, to the musical nature and heritage of part singing enjoyed by the people themselves. The sudden decline of the madrigal was due in some measure to the strict religious code of the puritans who virtually banned art. A more fundamental cause is that composers felt that the possibilities of the madrigal had been exhausted and eagerly took up a new form of declamatory singing introduced by the

Italians, -hich gave rise to the solo singer and the glee. CHAPTER III

INSTRUMENTS EVIPLOYED IN THE SINGING OF aDRIGALS

Because vocal music in the form o the English madrigal occupies such an important place in the history of musical development during the Tudor period, one is likely to overlook the fact that the ability to play an instrument of some kind was considered at that time almost as important as one's ability to sing. Reference has been made in the preceding chapter to the student who came to Morley for music lessons and was considerably embarrassed because he was not able to sing a part alone, play any instrument, or even discuss subjects pertaining to music.

From observing the various instruments at Uilbye's disposal at Hengrave

Hall, we conclude that in all probability when the part books were distrib- uted , Instruments were also distributed to the guests to accompany the singing of madrigals. It also appears that any person who considered himself a professional musician had to be able to play any instrument at his disposal.

Since the middle ages instrumental music in England seemed to be just as commion as vocal. Almost everybody ras probably able to play some sort of an instrument. While the most popular instrument during Chaucerts time apparently was the bagpipe or some other wind instrument, in Eliza- bethan England, the preference seemed to be for stringed instruments, particularly the lute, even though woodwinds like the flutes and recorders

'Harris, op. cit., p. 91.

23

I 24

2 were extensively used. It might be well at this point to discuss briefly

the most common instruments in use during the sixteenth century, as well as to observe the social significance attached to the playing of instruments.

String Instruments

The stringed instruments may be divided into two classes: (1) the plucked instruments, and (2) the bowed instruments, such as those belonging to the viol family, the immediate predecessors of the violin family.3 Of the plucked instruments we find two general types, the lute and the oither(n), (which is spelled in various ways, e. g. cittern). The main difference between these two instruments is that in the former the body was flatbacked; the either used wire strings to be plucked with a plec-

4 trum, while the lute used catgut strings to be touched with the fingers.

The lute was for a long time the most popular instrument in Europe. This instrument required conSiderable dexterity to play, as may be seen from the following quotation of John Dowland: " . . of all instruments that are portable is, and ever hath been most in request, so it is the hardest to manage with cunning and order, with the true nature of the fingering.115 one of the difficult features of the lute was the matter of keeping its five or six pairs of strings in tune, which was an expensive process. It is a matter of interest that lute strings were a favorite present to a 6 lady.

2 Harris, op. cit., p. 92. 3Ibid., p. 94.

4 Groves Dictionary of Music and Musicians, I, 653, quoted in Boyd, op. ct, p. 153. The Address to the Reader in Andreas Ornithopareus, Micrologus, translated by John Dowland, quoted in Boyd, op. cit.,p. 153.

6Harris, op. cit.,p. 94. 25

Both the lute and the either used the tablature notation. This means that each line represented a string, not a note on the staff, and various

letters were used to denote the positions of the fingers on the strings.

In this same connection reference is made to the lyra viol, which, strictly speaking, is not related to the lute, but rather is a kind of viola da gamba. This instrument, however, was tuned and fingered exactly like a

lute, and lute music was frequently played upon it from lute notation.

Hence, chords were played instead of single notes as on the viol. In contrast to the piano, one of the principal accompanying mediums of the present time, the pizzicato tone of the lute is described as having been very dainty, capable of producing moods in varying and delicate pastel shades. This seems to agree with what is known about the etiquette, customs, and artistic appreciation so characteristic of the Tudor period.

It is interesting to note that chromatic tones and chords, together with a well-defined tonality, are to be found in lute tablature. The key into wvich these should be translated, however, depends on the pitch used in tuning. There seems to be some uncertainty Whether or not this early development of tonality was confined to the lutenist, or whether 9 it was a part of the general secular development. The modern harmonic features appearing in the lute tablature in the early sixteenth century did not appear in the same degree in the virginal notation until nearly fifty years later. 1 0

Boyd, op. cit., p. 153-154. 8Ibid., p. 152.

Margaret H. Glyn, About Elizabethan Virginal Music And Its Composers, P. 12.

W-Ibid., p. 13.

WAN 26

Keyboard String Instruments

To continue the discussion on stringed instruments, it seems quite pertinent that something be stated here about the virginal, or vir finals, for it was a close rival of the lute in popularity and musical signifi-

cance.12 One can best define it by likening it to a small, rectangular

harpsichord with only one keyboard. It had no legs or supports, and was usually placed upon a table or stand.13 Gradations in dynamics were impossible, for, as in the case with instruments of this type where the

strings are plucked instead of struck with a hammer action, varying

pressures on the keys produced no change in tone. Aside from this fact, the resources of the modern pianist were at the disposal of the virginal.

ist, with possibly one or two exceptions, those of range and the ability to produce true a legato. The compass was usually four octaves, "A"f above the staff being the extreme treble note in the English instrument.

The tone was light and thin, but because the strings were plucked, there

is great brilliancy of attack, very effective in runs and chords, but with very little real legato. While today we think of the virginal as being the instrument described above, it is worth noting that until the term "harpsichord" came into general use, the term "virginal" was applied to all instruments of the plucked string type during the sixteenth and early seventeenth centuries, regardless of their shape.1

Neither sex enjoyed any monopoly in the playing of the virginal, but the instrument was a great favorite of maidens, wnich fact has led

ll"Virginals" was frequently used to denote a single instrument. Boyd, op. cit., p. 177.

12Harris, U. cit., p. 94. 13 Boyd, op. cit., p. 177.

1Glyn, op. it., pp. 6-7. 21

some to conjecture the name of the instrument.15 The virginal evidently

enjoyed considerable popularity among the royalty. Henry VIII, who was

a good player on this instrument, had a virginal player attached to his

court. Edward VI had three, and Mary, Elizabeth, and James I each

retained the same number. The two queens just mentioned and Mary queen

of Scots were all accomplished players, especially Mary Tudor, who also

played 16 the lute and regals. The great popularity of the virginal is

su ed up by Pepys in 1666 as he describes the flight of citizens during

the Great Fire of London: "I observed that hardly one lighter or boat

in three that had the goods of a house in, but there was a pair of virginals in it.17

The term "virginal" was used up to the time of Queen Anne, when

it was superseded by the term "spinet," the predecessor of the harpsichord.18

Among the great virginal composers one finds names that are heard frequently in connection with madrigals, namely, Byrd, Bull, Giles,

Farnaby, Orlando Gibbons, and Phillips.1 9

Viols

The second category of stringed instruments deals with those instru- ments wicliw ere the imnediate predecessors of the violin family, the viols. The viols differ from the violin family chiefly in the greater 20 nuber of strings used, Which varied from five to seven. The two instruments also differ slightly in design, the fingerboard of the viols

I5Harris, oP. Cit. ,p. 94.

1 Ibid., p. 95. The regal was a kind of very small portable organ. 1/ bi. p 5 18Ibd 19 Ibid.,P. 95.is Ibid. Boyd, op. cit., p. 181.

2 0 Henry Watson, English Music 1604-1904, p. 81. 28

having frets, whereas the violin is without them.21 In addition, the

back of the viol is always flat.22

There are several varieties of the viol, the treble viol corr-.

sponLn to the violin, the tenor viol to the viola, and the bass or viola da gamba to the violoncello. Of these the viola da gamba seems to

have been -themost popular, probably because it was easier to play than

the treble which required more dexterity of fingering than the slow-

moving bass.23 Ben Johnson states that it was usual to have a bass-viol

in the drawing-rooms for visitors to play on. As a rule it was usually

played by men, but occasionally it was also played by women, expecially

in the time of James 1.24

A "chest of viols"25 was an essential piece of furniture in the

house of any person of consequence. During this period when everybody was expected both to sing and play, it was necessary when one advertised

a new musical publication--for example, a set of madrigals--to state that they were "apt both for viols and voices." On the title page of a

set of newly-composed madrigals by Henry Litchfield in 1618, the following appears: "The First Set of Madrigals of Five Parts: apt for Viols and

Voyces.126 It is generally conceded that the viols were used not so much for the purpose of accompanying as they were in substituting for voices. It is stated by historians that when musical meetings were held in the home, if a tenor or bass singer happened to be indisposed, the

1 2 Boyd, op. cit., p. 161. 22Harris, op. cit., p. 94.

2 4 23Watson, op. cit., p. 79. Harris, op. cit., p. 93. 25 Harris, op. cit., p. 95. A "chest of viols" is a ter frequently used to denote a set of six instruments of various sizes. 29

household would supply the deficiency with an instrument by bringing

out the tenor viol, or the viola da gamba, and so complete the requirements 27 of the comiposition. The "Silver Swan" by Gibbons is a well-known

madriGal, said to be "apt for viols and voyces.1"2 8

There was also some social significance attached to the viols.

During the time that the viol and lute were at the height of their popularity, the fiddle, which was later destined to supercede the viols, was an instrument serving only for the ruder amusements of the lower

classes. The viol was an instrument belonging to the upper classes, and

it was not uncommon to hear of gentlemen playing three, four, and five parts with viols. The violin was thought of as belonging to the lowly fiddler; hence it could not be used by gentlemen "for feare of making their meetings to be vaine and fiddling.,29

Wind Instruxents

In addition to numerous references made to a "chest of viols," there are similar references to "sets of recorders." A gentlemants musical education in Tudor England must certainly have been complete, for it appears that it was not enough merely to sing and to play one instrument; one should also be able to demonstrate his ability on either the recorder or the garaba, described previously.3 0

The instruments to be discussed here are those related to the flute family, whose origin, it can be undoubtedly assumed, dates back to very

2 7 1bid., pp. 89-90. 28yWatson, op. cit., pp. 97-99.

2 9 Ibid., p. 90.

0 Frederick Bridge, "Music in England in the Year 1604," English Music 1604-1904, edited by Henry Watson. p. 189. 30

early times. In all probability the flutes developed in England were

an offspring of the ancient Egyptian pipe which had four note-holes,31

This study does not intend to deal with the antiquity of the flute family, but to determine how the wind instruments fitted into the musical pattern

of Tudor times.

The pipes, or the flutes, were undoubtedly very popular with the people. In Chaucerts Canterbury Tales we read of a squire Who passed

the greater part of the day singing and flute-playing. It seems that the

flute in this instance was a recorder, an instrument to be discussed

directly.32 Shakespeare also refers to the recorder, flute, and fife,

the most famous, perhaps, being found in Hamlet.3 3 Pepys also makes a

note in his Diary under April 8, 1688, that he had bought a recorder in

order to learn to play it, for he felt that it produced "one of the

most pleasing sounds in all the world."" Even Henry VIII did not have

enouGh domestic worries to keep him from being an enthusiastic flute

player. 3 5

The recorder is a type of flute which enjoyed wide popularity up

to the middle of the eighteenth century. It is an open pipe having at

least eight or nine note-holes. On the early instruments the lowest

hole was sometimes duplicated for the convenience of left-handed players.

In such a case it was customary to close one of these holes with wax,

1 John Finn, "The Recorder, Flute, Fife, Etc.," English music 1604-1904, edited by Henry Watson, p. 125.

33 Ibid., p. 127. William Shakespeare,Hamlet, Act III, Scene ii.

34Finn, op. cit., p. 130 3 5 Ibid., p. 127.

- I - " 1 -4 "ROW 31

either the right or left, according to the preference of the player.

At the top of the pipe a block or "fipple t was inserted, partially

closing the upper part of the tube down which the performer directed a

jet of air on to a cutting in the tube,3 6

Another instrument closely related to the recorder was the flageolet,

a small-fipple flute using a slightly different fingering from that used

on the recorder. In the middle of the seventeenth century there was

a double pipe instrument called the "double flageolet" which was prob-

ably the last member of the double-flute family.3 7

Like the virginal, viol, and gamba, the recorder had to give ,way to a more powerful rival when it could no longer meet the musical

demands that were required of it. The recorder had only a very limited

compass of two octaves, and in spite of a rather sweet tone, its intona- tion was quite defective. In addition, no amount of skill on the part of the performer made for any appreciable increase in tone or volume.

Thus, when the German flute with a conical bore and the addition of a

D sharp key was introduced, the old pipe commenced to lose its popularity.

After the German flute had been practically converted into a chromatic instrument by adding further improvements in the shape of closed keys for F natural, G sharp, and B flat, the musical life of the recorder terminated.38

It might be interesting at this point to note in what light recorders were considered by the Puritans. Some Puritan writers were of the

36Finn, op. cit., p. 126. 3 7 Ibid., p. 137.

3 SIbid., p. 137. 32

opinion that the playing of recorders was incompatible with Christianity.

Bilney, whose martyrdon is described by Fox, "could abide no swearing nor singing." Evidently he could not endure the recorder, for we are told that when Dr. Thurly used to play his recorder at Trinity Hall, Cambridge, 39 Bilney would resort straight to his prayer.

No doubt other instruments were used in England during the madrigal era. In this chapter are discussed only those which were most popular in the social life of England, and wrich had some direct bearing on English nadrigals and their performance.

39 Ibid., p. 131. CHAPTER IV

IADRIGAL SINGING

In a study of this kind it would be almost impossible to deal with all the technical phases of madrigal singing, especially When other writers of much greater authority on this subject have discussed the matter adequately and in considerable detail. Instead, it would be more pertinent to discuss the more important elements of madrigal construction and performance with Which any person dealing with madrigal performers should be familiar, and to know which would be able to perform madrigals artistically and traditionally.

Technical Features and Idiom

In the chapter dealing with the definition of the madrigal the general characteristics of this type of composition were noted.

This subject Vill now be discussed in more detail and a few more of the technical features and idioms employed by the English madrigalists will be observed. If a part book could be examined, it would become apparent how necessary it was for the Elizabethan madrigal singers to acquire complete familiarity with all the technical details of musical notation used in the books from Which they were expected to sing at sight.1 It is equally important for madrigal singers of the present day to familiarize themselves with the techniques and idiom of the madrigal

lFellowes, ThEnglish Madrigal Composers, p. 89.

3 The matter of rests was of considerable importance in the old

part books, and it does not require much imagination to see why it was so important that the singers should be very familiar with the exact meaning and value of rests: one may try to visualize an orchestra wherein the players are very indefinite in the matter of observing rests. In the Elizabethan times there was no uniformity in the position of rests on the staff, but rests of all kinds were printed in such positions as would most easily catch the eye. The practice of robbing notes and rests of their full time value is a comon fault with vocalists, and one that should be corrected if any musical composition, especially a madrigal, is to be performed correctly.2

An examination of sixteenth century music will often show a tendency to use whole and half notes rather than quarters, eighths and sixteenths. Often entire compositions were written in white notation, ahere the note heads are not filled in, sometimes in black, and sometimes in mixed notation. Because this practice was followed by the madrigal composers, modern interpretation becomes a little difficult, especially since there were no tempo indications in the original part books. The tempo indications shown on present madrigal publications have been in- sorted by the editors.3

Some clue to the original tempo of madrigals may be gained from a printed note at the end of the organ copy of Tomkinst Musica Deo Sacra:

sit mensura duorum humani corporis pulsum, vel globuli

penduli, longitudine duorum pedum a centro motus."

2 Ibid., p. 89. 0 Ibid., p. 91. If a man's normal pulse rate is 72, a womant s 80, and the beat of a two-foot pendulum 76.6, Tomkins, tempo indication in terms of the metro- nome could be approximated at M ,Lm. equals 76. Tomkins referred to the tempo of sacred compositions, but it is reasonable to believe th a similar standard was used in connection with secular music. However, there are no specific indications which would lead one to deduce that any set standard was rigidly adhered to, for the tempo of a composition is to a great extent controlled by the mood conveyed by the text.4

In many of the madrigals, frequent changes of time signatures are to be noted. hen the time changes from a duple C () to triple , the time value of the twro may be taken to be that of the preceding four; that is, the half note becomes equivalent to the quarter note of the preceding section. In the strictest sense the measure of triple time would be somewhat slower than that of duple time, in that the measure of throe half notes would need to occupy the same duration of time allotted to the measure of four quarter notes. There are no records to show that the exact proportions were observed by the Elizabethans in their perfor- mance of secular music; therefore authorities believe a natural inter- pretation of the music can be obtained by making the new half note of 5 roughly the same duration as the quarter note in the preceding measure.

In the earliest madrigals a sharp never occurs in the key signature, so that in the original editions key signatures are limited to three alternatives: (1) no sharp or flat, (2) one flat, (3) two flats, this bein' comparatively rare in madrigals. An example of the third alter- native may be found in Wilbyets Flora Gave e Fairest Flowers.6

4 Ibid., p. 90. Irbid., p. 91. 6 Ibid., p'-. 94L. 36

That many of the early madrigals sound modal is due to the fact

that in the beginning the madrigal composers were Influenced to a great

extent by the traditional Church modes. However, the En glish madrigalists

were quick to realize that madrigal wiriting could not be confined to

this style of musical design, and for this reason they were frequently

free in their treatment of the modes. In their searcA for new ways of writing, they transposed the modes by adding frequent accidentals which

in many instances destroyed the modal characteristic of the composition.

A simple and practical rule for determining the mode of a, sixteenth

century composition is to look at the final bass note. For tie sake of convenience the following table has been prepared.

TABLE 1

The number, the final note, and the melodic range of each mode.

Mode Nuiber of Mode Final Bass Note M dic Range Dorian IDD-

Hypo-dorian 2 D A-A

PhrygIan 3 EE-E iypo-phry!gian 4 E

ydian 5 F F-F

Hypo-lydian 6 F C-C vixo-lYdian 7 G G-G

ypo- ixolydian 8 G D-JD

Aeolian 9 A A-A

po-aeolin 10 A E-E

Ioian 11 C C-C

Hyp o-oi ian 12 C G-G

Ibid. 07

A "B" flat in the signature is an indication that the mode is

transposed, ordinarily', to a fourth above or a fifth below. Thus, when

the final note is "G1" and a "B" flat is used, the mode corresponds to

the one where "D" is the final bass note and no flat is used. Two flats

in the signature show that the mode has been transposed twice, a fifth

below the fifth, or, more simply, a tone down. This system of transposing

often makes it appear that too few flats or sharps are used in the key.

signature of the composition. 8

hiile the English composers of this period were experimenting with

the introduction of accidentals for the purpose of destroying the feeling

of modality, they were making another very important contribution which

eventually changed the whole concept of musical composition. Although

they were unaware of 'it, the English madrigalists bridged the gap between the use of the Church modes and the two modes in use today,

commonly known as the major and minor scales. A comparison of early madrigals with those of the latter part of the madrigalean era will

show~ the gradual transition that took place. (Compare Wilbye's Thou

Art ut Young, Thou Sayest with Gibbons' Silver Swan.)9

"The only legitimate purpose in setting words to music is to

increase their beauty and add to the clearness of their meaning." 0

In the matter of bonding words to music, the Elizabethans employed a

technique entirely their om. An examination of the original music might lead one to feel that the publisher had made a mistake in printing

8 Ibid., p. 95.

9For a more complete evolution of the modes and Elizabethan music notation, see E. I. Fellowes, The English Madrigal Composers, pp. 39-104.

10Ibid., P. 105. 38

a pas age instead of sor-fu rly- u - which would be conwrentional at the present time."1 The Elizabethan

composers had specific reasons for spacing their words in the manner

shown above. When madrigals are performed with a strict observance

of the verbal accentuation as indicated, they immediately take on a

new charm. Part of this charm lies in the crispness of the rhythm which

quite often gives the effect of syncopation, even though the musical

pattern is very regular.

ymph is- - ight'and shw-dov - like

Fig. 4.--Irregular spacing of words showing how syncopation is introduced by means of the text rather than through the rhythmic structure of the music. John Jilbye, Stay Corydon, Thou Swain, No, 32 from the second set of Madrigs.

Bar-lines are a rather recent innovation which were lacking in the

original part-books. Their use has greatly facilitated the reading of musical score, but on the other hand much of the original flexibility

and freedom has been lost because of the tendency to fix the rhythmic

structure into definite pulse groups of one, two, three, or four. This

is likely to result in the consciousness of regularly occuring accents measure by measure rather than in the rhythmic sweep of the whole phrase.

For this reason it is important that the presence of bar-lines in present editions of Tudor music must not be allowed to rob the music of the freedom of accent and phrasing intend ded by the composer. 12

lljbi'd., p. 110. 12 Ibid., p. 121. 39

Vocal Range of Madrigals

In the statement of the problem it was mentioned that this study

was adapted to the needs of musically talented students in the typical

high school and college. If the term "musically talented" refers to

students possessing sufficient musicianship and performing ability to

be able to attempt compositions demanding advanced vocal technique, the

problem about to be dealt with becomes greatly simplified, especially

in the matter of vocal range.

The problem of vocal range is one that has always been a severe

handicap in the performance of madrigals. Authorities differ on the

subject of transposition of madrigals into keys more adapted to the voice, but the investigator has found that the authorities consulted in this

study on madrigal singing prefer that madrigals be performed in the original 13 key if at all possible.1 This point of view is also supported by authorities who lived during the madrigal period. Thomas Morley, one

of the great madrigal composers, states that madrigals, when transposed,

lose the brilliance originally intended by the composer.14

Part of the difficulty of vocal range has arisen from the fact that in the original part books, composers failed to designate the voice for whici a certain part was written. Because a part book marked for alto voice might well contain individual parts written for second soprano, alto, or tenor voices. For example, in a set of four-part madrigals each part-book would be named Cantus (soprano), altus, tenor, and bassus, respectively. If the set also happened to contain a four-part composition

13ibid., p. 70.

Thomas Morley, A Plaine and Easie Introduction, p. 166. 40

written for two sopranos, alto, and tenor, the first soprano part would

appear in the cantus book, the second soprano in the altus, the alto in

the tenor, and the tenor in the bassus book.1 5 This sometimes results

in extremely awkward ranges, especially in the inner voices where the

alto may have a ranve of two octaves. In such instances authorities

feel that male altos were used originally, and for -this reason they

suggest that it is sometimes practical to exchange parts by allowing the 16 tenor to sing the alto and the alto the tenor.

Another explanation given by authorities for the difficult vocal

range of madrigals is that men in Elizabethan times made free use of the

"falsetto" register. There is no conclusive evidence to show that this was the case. The most logical conclusion arrived at by authorities

is that the pitch standard was lower during the Tudor period than it is at -he present time. It is known that many of the old. keyed instruments were tuned almost a minor third lower than in the present system of tuning. Moreover, in the old cathedral organs which date back to this period it is difficult to determine any definite pitch standard, because different organs were tuned so differently. The acceptance of this explanation immediately presents another problem, in that the voice parts often lie too low for practical purposes. It is not uncommon to find an alto part going to the "F", fourth line on the bass staff. A minor tfird below that pitch would be difficult for any alto to perform and still maintain good tonal balance with the other parts. 1 7

15E. H. Fellowes, EnI. Madrial Composers, p. 68.

16Ibid., p. 70. Ibid., p. 71. 41

Number of Singers

There is no rule which positively states that madrigals must be performed by small ensembles rather than by choruses. There are several reasons for preferring small vocal ensembles for the performance of nadrigals.

First, madrigals are a form of chamber music which originated in the home. The early madrigals were not intended for public performance, but rather or the pleasure of the iners participating. Anexception can be made in the case of some of the madrigals of Thomas Weelkes and

John Wilbye, who in their later compositions, adopted the chromatic style of the Italians. They conceived a group of singers to be an instrument portraying the composer's onn thoughts and feelings. These madrigals are works of art intended as much for the listener as for the .18 sinGer. 1

Second, records containing lists of instruments and music used in the great houses of the Tudor period show that there was seldom more than one set of part books, even in the wealthiest homes. (See Hengrave Hall, p. 16). This implies that solo voices were used and that it is improbable that more than two persons shared the same part book. It is stated that in the more complex compositions te best musical effects were obtained whex solo voices were used*19

Third, the original madrigals were performed without the aid of a conductor. Each sin;er was supposed to be able to sing his part in such a way that the interpretation of the whole composition was enhanced.

18Edward J. Dent, "madrigal" Groves Dictionary of Music and Musicians, third edition, III, 282.

19E. H. Fellowes, En. Madrigal Composers, p. 66. 42

This resulted in great flexibility and freedom, much the same as is experienced by a string quartet or trio that have learned to play artistically together, It would be impossible for a large group or chorus to achieve the same results without the aid of a conductor. To maintain adequate crispness of rhythman d vitality of tone of madrigals sung by a chorus, the group must be alert and sensitive to every subtle 20 suggestion of dynamics and tempo made by the conductor.

Polyphonic Singing

"The secret of singing polyphonic music lies in the realization that itis a collective art rather than individual."2 1 This implies that the melodic interest is distributed over many voices instead of in one part. In polyphonic music all voices may be assured that they will have adequate opportunity to carry the melodic line before the compo- sition is concluded. In the strict madrig'al, as in all polyphonic music, there is no subordinate part.22

To sing contrapuntal music well requires good musical judgment and intelligence on the part of the singer. It is very necessary that each participant be able to realize when he does or does not have the melodic or rhythmic interest. One rule is of utmost importance. When- eve. the melodic or rhythnic interest ceases temporarily in any voice, that part must be subdued so that the moving parts may be heard. Madri- gals are constructed in such a manner that if each singer sings his part artistically, even without regard for the dynamic level of the

20,. S. Rockstro, Groves Dictionary of Music and uliicians, second edition', Ib, 18.

21C. Kennedy Scott, Miadrigal SinGing, p. 3. 22Ibid., p. 6.

W.- I ." ,i '- 4-'Jmxw . - other parts, the result will be an artistic rendition. This appears to

be a contradiction of the rule just stated, until one realizes that no

judicious singer would assert himself vocally on passages where the melodic 23 and rhythmic interest is at a minimum.

The singing of sustained tones in polyphonic music requires a

specific technique. It must be remembered first of all, that the forward rm1h of the music must be maintained throughout the composition, even

when the melody ceases. This means that the only way rhythm can be

interpreted in sustained passages is through a change in dynamics.

Whether to affect a crescendo or decrescendo will depend upon the music

and text. The rule stated by one authority on madrigal singing suggests

that in most cases a "sforzando" effect is desired, which requires a

sudden crescendo followed by a well sustained diminuendo.24 This demands

good breath support and vocal control at all times. When contrapuntal mui c i sung in this manner, an instrumental effect is achieved instead

of the ponderous vocal style that is found too frequently in ensemble singing.

Vocal Techniques Required in Madrigal Singing

Because the madrigal is essentially a form of chamber music, it would be impossible to think of sing Elizabethan secular music in the massive style of a Bach fugue, or with the verve and tone quality of a Russian Choir. With few exceptions the subject matter of the

English madrigals deals with the season of spring, nature, and romance.

In -the singing of them one cannot help but sense the daintiness, refined

23Scott, op. cit., p. 7 24 Ibid., p. 53. 44

manners, and culture associated with the English people of the sixteenth

century, just as in the music of Mozart and Haydn one is made conscious

of the atmosphere of an eighteenth century drawing room. For this reason

a lyric tone quality is to be preferred over a very heavy, thick quality

frequently associated with basses and contraltos. Vowels should be

pronounced as deeply as possible without sacrificing brilliancy of tone.

To achieve this effect the pronunciation should be brought to the front

of the mouth, care being taken not to get the tone too "white."2 5

Lightness in madrigal singing can also be achieved through clean

attacks and releases. This requires that each note be attacked individ-

ually, especially in the case of rapid notes in florid passages. How-

ever, in spite of the articulated attacks, a legato line must always be

maintained, unless the music calls for a staccato effect. Scott implies

that too much "jaw-wagging" be avoided especially in the signing of

"lfa-la"refrains here an active tongue is very necessary to give the

desired "staccato" effect. Good articulation is indispensable in the

singing of madrigals, for without it clean attacks and releases on

individual notes are impossible. One authority states that the "fa-la"

refrains of ballets should be sung so that the pronunciation approaches

"fah Iuhl, luhll" rather than "fah lah lah."2 6 The text of madrigal music at its best is difficult to understand due to the weaving of parts.

Thus, clean attacks and crisp articulation are imperative.

The effect of a madrigal on the listener is determined to a great extent by the cadence. Because of this fact, considerable care should be taken to see that all cadences are sung with good intonation and

26 2 Ibid., pp. 43-45. Ibid., p. 93. 45

balance, especially in the case of long diminuendos where sufficient

breath support is necessary to insure perfect intonation until all sound

has ceased.

The speed with which a madrigal is sung depends to a large extent

on the mood expressed by the text. 'When a composition is taken too fast,

its texture becomes confused because of the vocal limitations of the performers. On the other hand, if the composition is taken too slowly, the life and lightness of the madrigal is lost, and instead it becomes

dull and lifeless, losing the connection of phrases as well.2 8 In most

of the present editions fairly accurate tempo indications have been

designated by the editors.

The vocal demands of madrigal singing include the following:

(1) a lyric tone quality; (2) normal depth of pronunciation; (3) vitality of tone; (4) clean attacks and releases; (5) a legato line that permeates a phrase even when a staccato attack is used on each note; (6) good articulation and enunciation; (7) the singing of consonants on pitch with the vowel they precede to avoid the tendency of sliding to new pitches; (8) the creation of the rhythmic sweep of the entire phrase line; (9) the subduing of sustained passages in order that the melodic interest may be heard in another part; (1) flexibility and variety of mood and tempo; (11) good intonation, especially at cadences; and (12) a tempo which is neither too fast for good vocal technique, nor too slow 29 for good interpretation.

27Ibid., p. 51. 2 8 Ibid., p. 95. 29Ibid., pp. 38-96. CHAPTER V

ENGLISH MADRIGALS IN AMERICAN PUBLICATION

There are many fine English madrigals available in American publi-

cation. These have been collected and listed in the tables which follow.

In deignating the category which shows the rela t ive vocal difficulty

of each composition, the following criteria have been observed,

1. Vocal range of each voice.

2. Difficult melodic intervals.

3. The use of chromaticism.

4. The number of voices employed.

SFloridity of melodic passages.

6. Difficulties of verbal accentuation (See Fig. 4, p. 38)

7. Rhythmic difficulties.

S. Contrapuntal difficulties.

9. Tempo of the composition.

10. Subtleties of interpretation.

Arrangements have not been included except in the list of supple- mentary material. Although in the strictest sense the "ballets" constitute a form all their own, they are generally thought of as being synonymous with madrigals. For this reason, a number of "ballets" containing "fa-la" refrains have been included in the list of madrigals.

Since most of these are homophonic, they have been classed in the category of madrigals easy to perform.

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TABLE 5

MADRIGALS ADAPTED FOR CHORUSES

Composerocopositioihe ConPubliioer

Bateson, Thomas Philis, Farewell B. C. .1

Bateson, Thomas Sister, Awake E. F. K.

Bennett, John Weep, 0 Mine Eyes 0. D.

Oenntt, John All Creatures Now Are J. F. 0. D. ilery Minded

Downd, John AwLke Sweet Love 0. D,

Dowland, Jolm Come Again, Sweet Love G. S.

1 Dowland , John Fine Knacks for Ladies H. v. G.

Dowland, John Stay Time, Awhile Thy Flying H. F.

Dowland, John ieep You No More, Sad Fountains H. F.

Este, Michael HoW Merrily We _Live G. S.

Farmer, John Fair Phillis, I Saw Sitting E. F. K. 71Al one H. F.

Ford, Thomas Since First I Saw Your Face G. S.

Gibbons, Orlando Dainty Fine Bird Gxy. C.C.B

Gibbons, Orlando Silver Swan H. W. G. H. F.

Gibbons, Orlando 'Why Art Thou Heavy, H. F. OS~iy Sil

Greaves, Thomas Come Away, Sweet Love, and E. F. K. .Pa7yTee

Johnson, Robert As I Walked Forth 0. D.

h Lic fild, Thomas I Always Loved to Call 10Y E. F. K. H. F. Iady Rose

A key to the publishers is found in the Appendix, p 67. 60

TABLE 5--Continued

Composer CompositionP

Morley, Thomas April Is in My Mistres Face H. F. 0. D. Iiorley, Thomas 1y Bonnie Lass G. S. 0. D.

Morley, Thomas Now is the Month of Maying H. W. G. 0. D. G. S.

forley, Thomas Shoot, False Love O. D.

Ravenscroft, Thomas In the IMerry Spring N. W.

Vautor, Thomas Sweet Suffolk Owl C. F.

Keelkes, Thomas Ha~rk, All Ye Lovely Saints H. F.

Weelkes, Thomas On the Plains 0. B.

Yveelkes, Thomas Velcome, Sweet Pleasure G. S. o.D.

Weelkes, Thomas Your Beauty, It Allureth G. S.

Wilbye, John Adew, Sweet Amarillis E. F. K. 0. D. Wilbye, John Lady, Vffen I Behold Gxy. Wilbye, John Softly, 0 Softly, Drop MyEyes Gxy.

"Wilbye, John Sweet Love E. F. K.

- -- - , . I . ------2 ------I - APIPEDIX

ARUANGEVENTS AND SUPPLLEMiENTIRY CHORUSES

Composer and Arranger Compositi on Voices Publisher

Arne, Michael The Lass wit-h tIe H.W.G. Arr. Chambers, E. A. Dei cate S.S.A.S.0S.A.k Arne, Dr. Thomas The Lass with the O.D. Arr. Robinson, C. C. TT'eicate 00Mawwr

Arne, Dr. Thomas Vihen Daisies Pied S.S.A.A. O.D. Arr. Fafg e, Arthur

Arne, 'r. Thomas here the Bee Sucks Oe. .A. O.D. Arr. Bantock, G.

Arne, Dr. Thomas ni ch is the Properest S.A.'.B B.13.. Arr. Kplley,. K. G.o Day

Bateson, Thomas Sister, wake S.S.A.A. J.F. Arr. Bement, G. S.

Bennett, John All Creatures Now Are S*S.A. .o.G. Arranged 'Mery minded

Bcnnett, John Weep, 0 Mine Eyes S.S.A.T.B. E.0.. Saar, Louis

Benett,, John Let Goe, 'Thy Do You S *S.A. J.F. Bment, G. S. Stay "le ow

Burnell, I. Gather Ye Rosebuds S.A.T.B. .0.B.

Callcott, J. G. Love V akes and Weeps S.A.T.B. 0.0.B.

Clokey, Joseph Blow, blow, Thou Winter C).A .T .B3. C.C.B. 7in

Dowland, John What if I Never Speed S.A. T.B. G.. Arr. Varleok, Peter

Folk Song- Early One morning Arr. Durhill, Thomas

Ford, Thomas There is a Lady S .A. .B. .D. G. Brovn, A. G. Y.

61 62

Composer and Arranger Compos ition Voices Publisher

Henry VIII Five love son s SA., T .B. H*.F.

Folk Song Wassail Song S.A.T.B. G.S. Arr. Holst, Gustav

-elsh Air The Ash Grove S.A.T.B. C.F. Arr. Jacob, Gordon

Miller, G. E. Come Away, Sweet Love, S*S.A. And Play Thee

Morley, Thomas April Is In 1y Mistress' S.S.A.A. G.S. Arr. David, Katherine Face

Morley, Thomnas I Will No More &.S.A.A. J. .0 Arr. Bement, G. S.

io rey, Thomas It Was a Lover and His S.S.A.A. 0.D. Arr. Fagge, Arthur

Morey, Thomas It Was a Lover and His S.A. O.D. Arr. Pace, Clifford Las

Morley, Thomais Now is the vionth of .D). Arr . kanney, C. F. 'Laying yorley, Thomas Now is the lonth of S.S.A.A. 0.D. Arr. Paypon, D.DR.

Monro, George My Lovely Celia S.*A.T.B. E.C.S. Arr. Davis, K. K.

Tonro, George Mly Lovely Celia S.A.T.B. C.C.B. Arr. Luvaas, M.

Mor ninton, Earl of Here, in the Cool Grot S*S*A.A. G.S. Arr. Mansfield, 0. A.

Foli ielody Begone, Dull Care *A.T.B. 0.)D. Arr. Page, C. parry, C. Hubert Never Ieather-Beaten Sail S. S.A.T .B. C.C.B

Parry, C. Hubert There Is an Old Belief S.S.A.T.B.B.C.C..

Pilkington, Francis Rest, Sweet N mphs S.S.A.A. J.F. Arr. Bement, G. S.

urel, Henry In These Delightful, S .. A, P leasant Groves Composer and Arranger Composition Voices Publisher

Purcell, Henry In These Delightful, S.*A.*T.*B. H.'V.G. M.W."if Peasant Groves

Purcell, Henry Nymphs and Shepherds 0 .S.A. O.D. Arr. Harris, V.

Purcell,, Henry Nymphs and Shepherds S.A.T.B. H.W.V'G.M.deW. Arr, McNaught, .

Purcell, Edward Passing By S.A.T.B. I.G.. Arr. Cooper, Irvin Alto solo with Chorus.

Purcell, Edward ing Dy S.A.B. O.D. Arr. Fisher, 4W. A.

Purcell, Edward Iassing By S.A.T.B* T.P. Arr. Fry, H. S.

Purcell, Henry VIth Drooping WinGs S.A.T.B. O.D.

Ravenscroft, Thomas A Wooing Song of a Bar itone M 0olo Arr. Krone, Max Yeoman of Kent Son S.9A.*A.T.B. Chorus

EnGlish Air Gossip Joan S.oA.T.B. G.S. Arr. Shaw, Geoffrey

Stevens, R. J. S. Blow, Blow, Thou S.A.T.BB. 1.M. G.S. Arr. Treharne, B. inter 1ind (boys) ood., Dr. Charles Awak Awake I S .A.T.13. 0.0.B3. S.A.T.B. C.C.B. Wood, Dr. Charles jong for a Dance

English Air Good Norning, Pretty S.A. G.S. Arr. whitehead, A. da id

En gish Air Peterkin Spray Q.... OD Arr. hitehead, A.

V-1bye, John Sweet iioney-Sucking Bees S.S.A. H. G. Arr. Chambers, H. A.

owpowlom 64

MODERN 1YDRIGALS, ENGLISH AND *AVIERICAN

Compos er Composition Voices Publisher

Busch, Carl The Day is Done S.A.T.B. G.Hi.M.

Creith, Guirne Madrigda S.A.T.B. B.H.B. Gaines, Samuel A Shepherds Song S.A.T.B. J.F. Gaines, Samuel Dorabella S.A.T.B. C.C.B. Huuhes, Herbert 4ound Me Not S.A.T.B. B.H.B. Hughes, Herbert Coll Me and Clip S.S.A.T.B. B.H.B.

Loar, Lloyd In the Spring, Ahl S.A.T.B.* G.H .M. Happy Day

Macfarlane, ill Nymph and Swain S.A.T.B. G.H .M.

Macfarlane, ill In Pride Nay of S.A.T.1B. G .H .M. Macfarren, Walter You Stole Iy Love sa*.t.b. H.W.G. Margetson, Edward Weep You No More S.A.T.B. J.P.

Iaargetson, Edward Now Sleeps the Crimson S.A.T.B. J.F. Pet al

1oore, Edward Take, Ot Take Those S.A.T.B. J.F. ps Away

Pearsall, Robert de hen Allen-a-Dale Went S.A.T.B. T~-Hunting

Saar, Louis Ye Singers All S.A.T.B. G.H .i.

Stewart, Sir Robert The Bells hichaeltsS.A.T.B.B. of St. Q.D.

Taylor, Deems a Day Carol S.A.T.B. J.F.

Thomas, Christopher The Sound of a Silver S.A.T.B. Gxy. Horn

Thompson, Randall The Lark in the Morn S.A.T.B. E.C.S.

Wetzel, LeRoy In the Merry Month of iay S.A.T.B. G.H.M.

Willan, Healy Come, 0 Come My Life's S.S.A.T.B. Gxy. De igt 65

SUPPLEMENTARY SOLO SONGS

Composer Composition Editor

Anonymous Willow onL: (Reliq. of English Son g)G. Schirmer

Arne , J. Blow, blow, Thou Ninter Wind Oxford - C. Fischer

Arne, T. Pr ach o'Me Your Must Rules Riker-Brown

Arne, T. Where the Bee Sucks Ditson

Arne, T. When. Daisies Pied Ditson

Arne, T9. By Dimpled Brook (20 Songs Novello edited by Barret) Arne , T. The Plague of Love (Old English Boosey S ongs) in Aust , F. It s a Lover and IIis Lass Novello

Austin., F. My Susan iasa Bonny Lass Novello

Austin, F. Sigh No More, Ladies Novello

Bennett, S. Maiden. n ine Chappel

Bennett, S. May Dew Novello

Campion, T., There Is a Garden In Her Face Stainer

Dickson, S. April Goes A-Walking Boosey

Dowland, J. Awake, Sweet Love Stainer

Dowland, J. Come Again,. Sweet Love G. Schirmer (Relic. of Englis TSong) Corkine, V. Sweet, Let Me Go Oxford

Dowland, J. Shall I Sue, Shall I Seek for Grace Boosey

Dowland, J. Now I Needs Must Par t Stainer

Dowland, J. Sleep, Viayard Thoughts Stainer

Dowland, J. Sorrow, Sorrow, Stay G. Schirmer (ElizabethanSon-s, Vol. II)

Dowland, J. Time Stands Still Oxford 66

Composer Conpositi on Editor

Englis. Air So w eet Is She Ditson Arr. Fischer, WV.A.

Greaves, T. Celestina Oxford

Handel, G. . Love In Her EyeSits Playing Novello

Handel, . F. Come and Trip It Boosey

Hutchinson, V. . AdamLay I Bounden Elkin

Parry, C. Hubert Thine Eyes Still Shine for Je Novello

Parry, C. Hubert A Lover I s Garland Novello

Parry, C oHubert v Heart is Like a Singing Bird Novello

Parry, C. Hubert Love is a Bauble Novello

Purcell, H. I Attempt from Lovets Sickness to Ply Ditson

1 pzrcell, H. I1 Sail Upon the Dog Star Oxford

Purcell, H. Let Us Dance, Let Us Sing G. Schirmer (R.efliT . of Englih3SogJ

Purcell, H. Next Ninter Comes Slowly G. Schirmer (e.q. of English song) 67

PUBLISHES REFERRED TO IN THE LISTING OF MADRIGALS

AND SUPLEENTARY MATERIAL

Publisher Place Abbreviation Used

C. C. Birchard & Co. Boston, Massachusetts C.C.B.

Boosey, Hawkes, Belwin New York, New York B.i.B.

Boston Music Company Ph'iladelphia, Pennsylvania Elkan

Carl Fischer, Inc. New York, New York C.F.

Oliver Ditson Company Philadelphia, Pennsylvania 0.D. J. Fisher & Bros New York, New York J.F.

Harold Flwamer, Inc. New York, New York H.F.

Galaxy Music Corporation New York, New York Gxy.

Gam-ble Hinged Music Company Chicago, Illinois G.H.ii.

H. W. Gray Compan4 New York, New York H.W.G.

Edwin 1. Kalmus New York, New York E.F.K

Novello & Co., Ltd* London, England Novello (H. . 'GrayU. S. Agents)

Oxford University Press London, England Oxford (Carl Fischer U. S. Agents)

E. C. Schirmer Music Company Boston, Massachusetts E.C.S.

G. Schirmer, Inc. New York, New York G.S.

Theodore Presser Company Philadelphia, Pennsylvania T.P.

Stainer and Bell, Ltd. London, England Stainer (Galaxy U. S. Agents)

M. nitmark and Sons New York, New York M.W. Music Publishers olding Corporation BIBLIOGPaPHY

Boyd, Morrison Comegys, Elizabethan Music and Musical Critic.ism Philadelphia, Tniverity of Pennsy7aTia Press, 1940.

English Music (1604 to 1904), edited by Frederick J. Crowest, being the lectures given at the Music Loan Ex ibition of the orshipful company of musicians, eld at isihorgers t Hall, London Bridge, June - July, 1904. Second Edition. London, the VWalter Scott Pubishing Company, Ltd., New York, Charles Scribnerts Sons, 1911.

Feliowes, Eimund HoracE, The Lngjish Madrigal, London, Oxford University Press, 1925.

Fellows, Eund horac, The English Madrial Composers, Oxford, The Cl arendon Pr ess., 1T2

Finney, Theodore 1A., A History of Music, Mew York, Harcourt, Brace and Company, 1935.

Glyn, Margaret H., About Elizabethan Virginal Music and Its Composers, London, VIlliamR eeves, Ltd., 1935.

Grove, Sir. G., Groves Dictionary of Music and musicianss, second edition, edied by J. A. Fuller Maitland, Philaelpiheodore reser Company, 1916.

Grove, Sir G., Groves Dictionary of Music and Musicians, third edition, edited by H. C. Cclles, New York, The~~1ach1illaldoipany, 1938.

Harris, Clement Antrobus, The Story of British Music, third impression, London, Kegan Paul, Trench., Trubner & company, New York, E. P. Dutton & Company, 1925.

Morley, Thomas, A Plaine and Easie Introduction to 4 Practical Music, with an int3oduction~o' Edmund.TH.7Fellowes.~London, Hymphrey 1ilford, Oxford University Press, 1937.

scott, Charles Kennedy, iMadrgal'nin, London, Oxford University Press, 1931.

Shakespeare, Williain, The Tragedy of Hamlet, Prince of Denmark, edited by John Dover vilso7, London,T~abridge Unversity Press. 1934.

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