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Abstract the LIFE and WORK of ROBERT JONES by Cathryn J. Gaherty Historians Have Failed to Distinguish Among the Two Known Rober

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Abstract the LIFE and WORK of ROBERT JONES by Cathryn J. Gaherty Historians Have Failed to Distinguish Among the Two Known Rober Abstract THE LIFE AND WORK OF ROBERT JONES by Cathryn J. Gaherty Historians have failed to distinguish among the two known Robert Joneses, Richard Jones and the R. Jones of innumerable references. In this research paper it was thus first necessary to establish the identity of Robert Jones. It was then possible to investigate the educational customs and draw some conclusions about Robert Jones, who lived ca. 1575 - ca. 1615, and his position in Elizabethan society. Also, the overall musicological evaluation of Jones has failed to give us sufficient accurate information. Specifically, the forewords to his songbooks have been used, unfortunately, to deprecate rather than to shed light on the philosophy and personality of Robert Jones. Jones graduated from Oxford University with a Bachelor of Music degree in 1597. He was also involved with the Children of the Queene's Revells, and several of his songs were included in masques. In addition to SlX songbooks, which ensured that he would be remembered -- at least for his productivity -- Jones contributed three sacred songs to the Teares or Lamentaciones of a Sorrowfull Soule of Sir William Leighton. A fourth anthem by Jones is contained in Christ Church Music Manuscript 56 60, that is, the Fanshawe part-books. Biographical data are presented in the first chapters; the remaining chapters are devoted to the secular music and the sacred music. Contained in the latter is a transcription and a recreated bass part of the Oxford Anthem, possibly composed by Jones to complete degree requirements at Oxford. Supplements include facsimiles of all the prefaces to the publications of Jones discussed in the thesis. THE LIFE AND WORKS OF ROBERT JONES by Cathryn J. Gaherty A thesis Presented to the Faculty of the Department of Music of Christopher Newport College In partial fulfillment of the Requirements for the Degree Bachelor of Music May, 1988 Approved by : Ct;U w: 15?()(/BKr----~ Director-VClyde W. Brockett, Ph.D. R . Hines , Ph . 0 . TABLE OF CONTENTS ACKNOWLEDGMENTS . ll LIST OF ILLUSTRATIONS • . iii LIST OF APPENDICES iv I. IDENTIFYING THE MAN . l II. EDUCATION AND SOCIETY . 11 III. ~vAITS, MASQUES, AND THE THEATRE • 21 VI .. THE SECULAR MUSIC . 29 V. THE SACRED MUSIC 39 I LLUSrrRATIONS • 72 APPENDICES 105 BIBLIOGRAPHY 117 iii ACKNOWLEDGMENTS This paper cou l d never have been a t tempted without the faith and assistance of many wonderful p eopl e. I sincerely pray that the results will repay your belief in me. Many thanks to Mr. Richard Austin, cura tor of St. Luke~s Shr ine i n Smithf i e ld, Virginia. It was through his kindne ss that I was a b le to use the Bible of 1615. Mr . Richard Johnson of the New York Public Library Performing Arts Research Cent er at Lincoln Center was of great assistance to both my husband and myself . I t is because of the senerousity of Mr . H.J.R. Wing of Christ Church, Oxford that I am able to include the Oxford Anthem. Mr. Arthur Searle, Assistant Keeper , The British Library, was kind enough to s e nd sources for the works of Rober t Jone s . I am especial ly thankful to and for t he librarians of Christopher Newport College: Mary Daniels, Cathy Doyle , Maureen Humphries, Trish Kearns , Carol Lockwood( and Betty Smith. Their incredible support proves t here i s no place like home . The following people can never be thanked enough: Pat Silvis , for still being my friend, Anne Catherine Braxton for the most awful puns to make me laugh, "Dr. B'' for his guidance and support which stretched beyond belief , Dr . Bill Stoney for supporting my dreams, Dam, who wil l get her mom back soon, Jimmy , and, most of al l , my husband Steve, the ma n who killed chauvinism, resurrected chivalry, and who loves me so much that he can l et me indulge my passion for iv an obscure Elizabethan Composer . I also wish to thank those faculty members who have consented to read this paper : Dr . Elizabeth Jones , Dr. James Hines, and Dr . Clyde Brockett. May you enjoy Robert Jones . v LIST OF ILLUSTRATIONS Figures 1-4: The First Booke of Songes or Ayres ••.. 72 Title page, Dedication, Preface, Table of Contents Figures S-8: The Second Boeke of Songes or Ayres ... 76 Title page, Dedication, Preface, Table of Cpontents Figures 9-12 : Ultimum Vale .• . ....... 80 Title page, Dedication, Preface, Table of Contents Figures 13-16 : A Musicall Dreame .•. ... .... 84 Title page, Dedication, Preface, Table of Contents Figures 17-20: The Muses Gardin for Delights ..... 88 Title page, Dedication, Preface, Table of Contents Figure 21: 92 Figure 22: 11 Farewell dear love 94 Figure 23: Transcription from Musica Antigua 96 Figure 24: "Farewell fond youth" 98 Figure 25: 11 In Sherwood liude stout .Robin Hood . 100 Figure 2 6: 11 Goe to bed sweete muze 102 vi LIST OF APPENDICES Appendix One . 105 Sources of the Music of Robert Jones Appendix Two . 107 Contributors to Manuscripts numbered 56 through 60 in Christ Church Oxford Appendix Three . 113 Graduates of Oxford Appendix Four . 114 Oxford Treatises Appendix Five . • . • .•. 115 Baccalaureus in musica solvet Appendix Six . 116 Word set by Jones for Leighton vii CHAPTER I IDENTIFYING THE HAN Robert Jones, who flourished between 1597 and 1615, is one of the lesser known Elizabethan composers. He has been claimed, not without causing confusion, to have taken to himself a number of QUSical assignments. One author asserts 1 that Jones was a composer for virginals. Another calls 2 him a composer for viols. He is referred to by one historian as a prominent lutenist to be numbered with Dowland, 3 Campion and Byrd. He has been called song writer and 1 Kurt Adler, The Art of Accompanying and Coaching (Minneapolis: The University of Minnesota Press, 1965), p. 12. 2 Gordon Dodd, "A Summary of Music for Viols," Early Husic 6 #2 (April 1978): 263. 3 Elise Bickford Jergens, ed., British Library Manuscripts, Part I: English Song 1600-1675 (New York· Garland Publishing, Inc., 1986), p. 11. -1- -2- 4 theatrical manager, both controversialist and genial person. Yet some authors, such as Edmund H. Fellowes in English Cathedral Music, consider his accomplistooents in some areas 5 too meagre to merit mention. In extant records for the period from 1520 to 1620, there are numerous references to R. Jones, Richard Jones and Robert Jones. There are also references to a w. Jones and an s. Jones in the same Stationers Register that lists an R. 6 Jones seven times. Another Jonest Luke, is a contributor of one of the poems in William Leighton •s Literary Introduction and Laudatory verses to Teares or Lamentaciones 7 of a Sorrowful Soule from approximately the same period. It is possible to reduce the Richard and Robert Jones references to four people, that is, two Robert Joneses and two Richard Joneses. It is also within the realm of possibility that these rnen were related. Their paths 4 Philip Heseltine, "Robert Jones and His Prefaces," The Musical Times (February and March 1923): 99, 171. 5 Edmund H. Fellowes, English Cathedral Music from Edward VI to Edward VII, rev. ed., Edited by J.A. Westrup (Westport: Greenwood Press Publishers, 1981). Fellowes discusses Leighton's Teares or Lamentaciones of a Sorrowful Soule, yet never discusses Jones' contribution of three anthems. 6 E.K. Chambers, The Elizabethan Stage, 4 vols . reprint ed. (Oxford: Clarendon Press, 1961), vol. II pp. 380-389. 7 Sir William Leighton, Teares or Lamentaciones of a Sorrowful Soule, Transcribed and edited by Cecil Hill (Lancon: Stainer and Bell , 1970) p. xviii. -3- crossed often enough, and, in at least one instance, scholars have confused them, crediting one with the work of the other. Some historians have also preferred to gloss over the obvious inconsistencies in dates and make no distinction at all in their references to Jones. The first Robert Jones, conceivably the grandfather of the Elizabethan composer, is said to have been a chorister in Henry VII's Royal Household Chapel. In 1512, it is claimed that he was a member of Henry VIII ' s Royal Household Chapel. This Jones, furthermore, is listed as a meniDer of the Gentlemen of the Chapel at the Field of the Cloth of Gold in 1520. Three of his compositions have survived, 8 although they are incomplete. Thomas Morley cites Jones' 9 work in A Plain and Easy Introduction to Practical Music. 8 The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. 'Jones, Robert (1) .' The three-part song, "Who shall have my fair lady, " is in an anthology, XX Songes. Gustave Reese, Music in the Renaissance (New York: w.w. Norton, Co., 1956) p. 763, discusses this book in a footnote as "one of the earlies·t examples of music printing in England, which was formerly considered to be a product of the press of ••synken de Warde." Denis Stevens, Tudor Church Music (New York: Merlin Press, 1955) p. 50, mentions this Robert Jones' Mass, based on the plainchant cantus firmi, Spes Nostra. 9 Thomas Morley, A Plain and Easy Introduction to Practical Music, R. Alex Harman, ec. (New York: w.w. Norton and Company, Inc., 1952), p. 321. Robert Jones is noted here as a vJelshman active ca. 1485-153 5. -4- The dates for Richard Jones span a time period of ninety years, from 1532 to 1624. Even allowing for extraordinary good health and ideal living conditions these dates must, at the very least, be for two men. The first Richard Jones is listed as the High Master of the Grammer School for the children of St.
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