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. Paul's from 1532 to 1549. He followed John Ritwise who was said to have allowed the boys of the grammar school to perform interludes at the court of

Henry VIII. There is no indication that this practice was continued under the headmastership of Richard Jones. The lack of reliable information in this case can be attributed to the loss of archives in the Great Fire of 1666 and the 10 confused records of the choir school and the grammar school.

It is also possible that this is the R. Jones who entered three plays in the Stationers Register from 1567 to

1569, which had been performed by the Children of the Chapel. 11 The headmaster then was Richard Edwardes. In 1561

Edwardes received his patent as Master fron1 Queen Elizabeth 12 and this patent was entered into the records by an R. Jones.

10 Chambers, vol.II, pp .. 8-12.

11 Chambers, vol.IV, p. 381.

12 Chambers, vol . II, pp .. 33-34 . -5-

The next two Joneses, Richard and Robert, have caused the most confusion. They were active during the same time period and were associated with the same group, the Children of the Revels. In addition, both men were musicians, both were connected with a theatre troup manager named Robert

Browne, and both men travelled to Germany. It is a very real possibility that these men were brothers, possibly sons of the first Richard Jones discussed.. It may not even be far-fetched to suggest that all three were related to the Robert Jones connected with the courts of Henry VII and

Henry VIII.

Richard Jones was associated with the acting companies of the Earl of Worcester in 1583, the Lord Admiral in 1589,

1594-1596, and 1597-1602 and the Earl of Pembrokes•s Hen in

1597. He was in Germany in 1592-1593, 1615, 1620 and 13 1622-1624 . In 1623, he was a musician to the Duke of

Wolgest. At this tioe he petitioned the Duke to be allowed to return to England. In 1624, Richard Jones again petitioned the Duke, this time to be taken back into service as a musician. In 1630, he is connected with John Jones, a 14 dramatist.

13 Chambers, vol. II, p. 324.

14 Gerald Eades Bentley, The Jacobean and Caroline Stage Dramatic Companies and Players, 5 vols. reprint ed. (Oxford: Clarendon Press, 1949), val. I and II, pp. 135, 485. -6-

Richard Jones entered four plays in the Stationers' 15 Register between 1578 and 1594. In 1580 he was the enterer of the song "A newe northern Dittye of ye Ladye

Green Sleves.u Jones was granted a license in 1584 to print a book, really a collection of ballads printed in broadsheet form, entitled Very Pleasant Sonets and Stories in Meter by

Clement Robinson. Robinson was an Elizabethan poet, fl . 1566- 16 1584. This was in response to a popular interest in signing to the lute. This Jones was not above using the name or initials of well-known writers to enhance the sale of his verse books.

At least three of these books, A Smale Handful! of Fragrant

Flowers (1575), Britton's Bowre of Delights (1591) and the

The Arbor of Amorous Deuises (1594 and 1597), used the initials of Nicholas Breton, much to Breton•s anger. These books included poems by Breton and others used without their consent. Other collections printed by Richard Jones are A Handfull of pleasant 17 delites and A gorgious Gallery.

It was this Jones, erstwhile actor and printer, who was granted the patent by which the Children of Whitefriars were once QOre entitled to call themsel•es the Children of the

Queen's Revels. This patent, dated January 4, 1610, was

15 Chambers, vel. IV , pp. 382-383. 16 The Cambridge Bibliography of English Literature, ed. F. w. Bateson, 5 vols. (1940, Cambridge: University Press, 1969), p. 646 .

17 Winifred Maynard, Elizabethan Lyric Poetry and Its Music (Oxford: Clarendon Press, 1986), pp. 16, 14, 48-50 -7- given by James I. It reads in part:

Know ye that wee haue appoynted and authorised .. . Robert Daborn, Phillipp Rosseter, Iohn Tarbuck, Richard !ones and Robert Browne from tyme to tyme to provide keep and bring vpp a convenient nomber of children, and them to practice and exercise in the quality of playing, by the name of Children of the Revells to the Queene, within the white fryers .l8

It is this patent which seems to be the source for confusing Robert Jones and Richard Jones. Several authorities claim that the Elizabethan COQposer Robert Jones was involved with the Children of the Revels of the Queene 19 in 1610. However, he is not mentioned in their history until five years later. One historian even claims that Robert Jones is the founder and manager in 1610 of the 20 Children of the Revels to the Queen within White Fryars.

18 Chambers, vol. II . p. 56. Chambers and Bentley, Jacobean Stage, discuss the various associations of Richard Jones and Robert Browne in greater detail than is within the scope of this thesis.

19 Edmund H. Fellowes, The English t-1adrigalist, 2nd ed., vol. 35 A (London; Stainer and Bell, 1960), p . 4 and Heseltine, Prefaces, p. 171. It is interesting to note that both these works were originally published in 1923, and neither lists sources. Chambers, also originally published in 1923, clearly states his sources for these patents , the original cocuments.

20 Morrison Comegys Boyd, Elizabethan Music and Musical Criticism, 2nd ed. (Westport: Greenwood Press, Publishers, 1973), p. 199. Boyd has all references to Robert Jones under one index heading although be discusses the work of the Tudor composer as well as that of the Elizabethan composer. No source books on Elizabethan or Jacobean Theatre are included in his bibliographies. -3-

Robert Jones• connection with the Children of the

Revels is clearly stated in a patent granted by James I on

June 3, 1615. It gave authority for the erection of a new theatre for the continued training of the Children of the

Revels. This theatre would replace the expireci lease on another house used by Rossiter:

And whereas the said Phillipp Roset~r, together with Phillipp Kingman, Robert Iones, and Ralphe Reeve, to continue the said service for the keeping and bringing vppe of the children for the solace and pleasure of our said most deere wife ••• by the name of children of the Revelles to the Queene, have lately taken in lease and farme divers buildings, Cellars, sollers, chambers, and yardes for the building of a Playhouse therevpon ••• All which premisses are scituate and being within the Precinct of the Blacke ffryers neere Puddlewharfe in the Suburbs of London, called by the name of lady Saunders house, or otherwise Porters hall, and now in the occupation of the said Robert Jones. Nowe knowe yee that wee of our especial! grace ••• doe give and graunte lycense and authoritie vnto the said Phillipp Rosseter, Phillipp Kingman, Robert !ones, and Ralphe Reeve, at their proper costs and char~~~ to erect, build, and sett vppe in and vppon the said premisses ••• one conve ient Playhouse for the said ct:ildren of the Revelles. 21

It is interesting to note that Robert Jones is mentioned three times in this patent.

This patent and its various details are confirmed in other sources of the period. The Privy Council was

21 Chambers, vol. II, p. 473 . -9- approached by the inhabitants of the Blackfriars area. They maintained that another theatre in Puddle Wharfe, would be too close to the church of St. Anne and that it would disturb the congregation during services. Because of a technical flaw, the work that was begun on the building was ordered stopped in September of the same year (1615). Plays were performed there as late as January 1617. The last mention of 22 Robert Jones in this instance was the King's patent.

Robert Jones had other connections with the theatre, although he is not called an actor. In 1602 he was in

Germany at Frankfort where he was named as a "fellow" of

Robert Browne. Browne was something of a theatre impresario who specialized in bringing English actors to the continent and was also included in the patent of 1610 with Richard 23 Jones. This year was the start of a three year publishing hiatus by Robert Jones. Appendix One includes the titles and dates of Jones work. An interesting fact which may or may not be connected with Jones• time in

Germany is that his third book, Ultimum Vale is one of eight

22 Chambers, val. II, pp. 472-473, 61, val. IV, pp. 343-345.

23 Chambers, val. II, pp. 273-282, p. 56 . -10-

Elizabethan Music books which used to be in the library of 24 the East-Prussian Castle of Schlobitten.

This Robert Jones, then, is the Jones who is the subject of

this paper . He was active in the latter years of

Elizabeth•s reign and the early years of the reign of James I .

He may or may not have been an actor , but he was

associated with actors and the Chilciren of the Revells. He

was stable enough to own a house and to enter into a risky

theatre venture.

24 Otto Heinrich Meis, "Elizabethan Music Prints in an East-Prussian Castle," Musica Disciplina, III (1949), 171-172. CHAPTER II

EDUCATION A~ID SOCIETY

Robert Jones is known to have graduated from Oxford

University in 1597 . It is also known that he was at St. Edmund ' s 1 Hall and was for sixteen years a student. His date of death is unknown, although a valid theory has been put forward for 2 his approximate year of birth to have been 1574. This would have made him only twenty-three when he graduated, slightly younger than n1ost of his contemporaries. A comparison may be rMde by using Appendix Two, an outline of works contained in

Christ Church r.lusic Mss .. 56-60. Composers who graduated from

Oxford University are identified, as well.

Music, both sacred and secular, was an integral part of university life. Until the Reformation, it was customary to have Masses sung for the souls of the kings and founders of the various colleges ~ The playing of secular music and instruments had become so distracting that it was forbidden at ••unseasonable times, 11 unless after meals and there was a 3 fire in the fireplace of the hall or communal erea.

1 c. F. Abdy Williams, A Short Historical Account of the Degrees in f.iusic at Oxford and Cambridge (London, 1893) p.75.

2 Hese1tine, Prefaces, p. 99. Heseltine combines the fact of Jones• years as a student and Jones• admission of practicing music since he practiced speaking to estimate the date of 1574.

3 Nan Cooke Carpenter. Music in the Medieval and Renaissance Universities (1958: New York: Da Capo Press, 1972] p. 169, 81.

-11- -12-

Since the singing of Masses was required by statute, some means had to be provided for the training of choristers. Many colleges maintained choir schools. These younger members of

the college community actually owed their positions at Oxford

to their musical talent and duties. In 1547, the Act of

Dissolution under Edward VI closed many church schools, but not the collegiate foundations in the universities, the choirs of St. George and Chapel at Windsor, and the cathedral 4 schools.

The young choristers were taught plainsong and pricksong, and when their voices changed they were preferred for vacancies in the university's scholarship lists. Among these colleges were the Schola f.lusicae of Queens, New College, Corpus Christi

College, Cardinal College (later Henry VIII, and nm1 Christ

Church), St. John's College and Magdalen College. The statutes of Magdalen College also provided for places for thirty indigent 5 student--... ,..iemyes) to study plainsong.

In the preface addressed to the reader in his First Booke of Songes or Ayers, Jones states that ever since he practiced 6 speaking, he practiced singing . By his own words it is likely

4 carpenter, pp. 167, 88, 388.

5 Carpenter, pp. 267-171.

6 F. w. Sternfield, general editor, English Lute Songs, 1597- 1632, a Collections of Facsimile Reprints (Manston: The Scholar Press, Ltd., 1971) #26, Robert Jones, The First Boo~e of Songes or Ayers, 1600. David Greer, ed. -13-

that Jones was trained in one of these choir schools anG it is

not inconveivable that he was a recipient of a scholarship to the university of Oxford. Indeed, Jones was probably at school at

Oxford, rather than London, and may even have been one of the demyes of Magdalen College. This is especially likely in view of

the fact that Jones had no steady patronage, each of his song books was dedicated to a different person and he was not 7 connected as household musician in the same way that John Wilbe B and John W'ard were involved at Hengrave Hall and with Sir Henry

Fanshawe ..

The power for presing choristers into service started in

1420 and this practice continued through Elizabeth • s reign. Im-

pressment of exceptional singers, men and boys, from all over 9 England into service in the Royal Chapel was commonplace.

7 Sir w. H. Hadow, English Music (London: Longmans, Green and Co., 1931) p. 65.

8 John Aplin, "Sir Henry Fanshawe and Two Sets of Early Seventeenth Century Part-Books at Christ Church, Oxford," Music and Letters 57 (January 1976): 14.

9 Carpenter, p. 341.. Foster Watson, The English Grammar Schools to 1660: Their Curriculum and Practice, {Cambridge: University Press, 1908 ; Encyclopedia Britannica: Library Resources, Inc. LEL 10880), pp. 155, 212, 217 . Watson mentions several grammar schools in London which incorporated music into their programs at this time. They include the Merchant Taylor's School, St. Paul ' School, Thames School and Christ Church Hos­ pital. It was necessary to know the catechism in English or Latin, read perfectly and write co~petently before acceptance at these schools. Hulcaster, headmaster at Nerchant Taylor's., claimed that extra subjects like music were studied privately by gentlemen's children and that nusic itself was a part of the math curriculum. -14-

It is doubtful that Robert Jones was impressed into such service.

He was both eloquent and voluble in the prefaces to his song books and would certainly have alluded to this aspect of his life, had it been part of his own experiences.

The awarding of baccalaureate and doctorate degrees in music at Oxford was a tradition dating from the early fifteenth century. Music had been established as a separate faculty, the only liberal art so distinguished. In fact, the English universities were the only ones to confer degrees in music.

There is no indication that a prior arts degree was required for the Bachelor of Music as was often the case in other fields .

Many of England ' s most talented musicians became bachelors or 10 doctors of music at Oxford. Appendix Three is a partial listing of these musicians, drawn fron, information in Carpenter's and ~lilliams • studies. Furthermore, the University of Oxford was, after the University of Paris, the "inspiration for more 11 treatises on music than any other medieval university. "

Appendix Four is a compilation of these treatises taken from the work by Carpenter .

The dichotomy of music , that is musica practica versus musica speculativa was reflected in the requirements placed upon the degree seeker at Oxford. It was as necessary to study polyphonic music as to study theory. Music classified within the mathematics traditions and the text of Boethius, De institutione

10 Carpenter, pp. 159 , 89 , 336 , 160.

11 Carventer, p. 82. -15- musica, was required by statute since 1431. In 1549, after

Edward VI visited Oxford, the candidates for the bachelor of music degree were to concentrate on the disciplines of the quadrivium. Sixteen terms (four years) were to be spent in grammar, rhetoric, dialectic and arithmetic and 11 in musica

Boetium ... Admission to the bachelor of music granted the right 12 to lecture in any of the music books of Boethius.

Each student at Oxford was instructed by his own tutor until he had obtained his first degree. This meant that the musical careers of some students were actually shaped by the methods of

their tutors. Attendance was required at public lectures. Aside

from the usual difficulties with student participation and indif-

ference or inability of some faculty, these lectures were to be given in Latin. Dr. John Bull , not being proficient in Latin, was granted permission to read his lectures in English in 1597.

Jones, of course, should have attended these lectures, since John

Bull was incorporated as a Doctor of Music from Cambridge in

1592.

In order to obtain a degree it was necessary to "compose a

Mass, song or canticum • • • to be performed before the university ••• 14 on the day of the Cornitia. 11 This was not meant to determine eligibility for a degree, rather it was meant to add to the

12 Carpenter, pp. 89, 77, 153, 159.

13 Carpenter, pp. 154-156, 163-164.

14 Williams, p. 21. -16- solemnity of the occasion. This rule specifying a piece of music to be performed in the university churcl1 at Act time remained un- 15 changed from 1516 until 1608 , when a hymn only was required.

However, there was a dispensation from this rule. A candidate could apply for a degree "pro circuita.h He would request the Vice-chancellor and proctors to summon a Congrega- tion. On the afternoon before the Congregation, the student:

preceded by one or both of the bedells of his faculty and accompanied by the person who was to present him in congregation ••• attired in academic dress but bareheaded, went round to the schools and also called on the Vice-chancellor and both proctors.l6

Tradition always was an important part of university life.

Oxford, in the early sixteenth century, was no exception. Fre- quently these traditions became codified in statutes. Gloves were an expensive luxury and early in Oxford 1 s history it became obligatory for the degree seeker to give a pair to the Bedells and other officials . No man could dress above his station, and students, fined for wearing silk, were required to wear gowns 17 with loose sleeves and square caps in public. Following is a list of graduation fees established by statute at Oxford in 1601, taken from Carpenter. Appendix Five is a copy of the original version. According to the custom, Jones would have had to pay some, if not all , of these fees.

15 Williams, p. 27 .

16 Carpenter, p. 165, citing Clark in Register II, p. 46.

17 Williams, p. 59 . -17-

TABLE ONE

Graduation fees at Oxford in 1601

The baccalaureate in music will disburse: First, for the total for gifts 6 s a d For the service of the room 6 d For the clerk of the university 12 d For possessions 12 d For the chamber 4 d For the six year total [tuition?] 2 s For services during the present year 12 d For the clock 2 d For the right of the university 2 d For the lesser porter of Arts 6 d

Total 13 s 4 d

IE he has been subsidized by the church 7 s 4 d or by patronage, he will disburse for wine

If not arranged in advance [?] he will pay 9 d for the table servants to the porters of his faculty for meals.

The greatest expense on this list is for wine [!) -18-

It is not indicated in the available sources whether Robert

Jones composed a piece for graduation or used the 'pro circuitu• option. However, a good case can be made for the former. there is an anthem in Christ Church I·1usic Mss. 56-6 0, "Singe joyfully," which was composed by Jones . The words are from Psalm 81 , and are identical with those in an Elizabethan Bible printed in 18 1595 . This is two years before Jones graduated from Oxford.

Furthermore, the Christ Church l•lus ic t-lss. was compiled 11 wi th most of the material at hand, gathering together works which may 19 already have existed in worn or loose copies .. .. It was planned as a memorial to Prince Henry, and most of the composers repre- sented were court-based friends of the composer John Ward, who was in the service of Sir Henry Fanshawe. These part-books were compiled at Fanshawe's request and completed by his son before 20 1620 . The Oxford anthem, "Singe joyfully, " will be discussed further in the chapter on sacred music .

As can be seen, music was an important and necessary part of the education of a gentleman and it was a necessary

18 The kindness of Mr . Richard Austin of St. Luke •s Shrine, Smithfield, is gratefully appreciated. He allowed access to the Bibles there, which proved that Jones used the Elizabethan trans­ lation and not the King James version of Psalm 81.

19 Aplin, p.18 ..

20 Aplin, p. 14 . -19-

21 accomplisr~ent of the perfect courtier. Even Morley begins his book with a description of the embarassment caused by a lack 22 of ffiUsical knrn~ledge. Furthermore, a degree in music was an invaluable asset to obtaining a post in the Chapel Royal.

Neither Elizabeth nor James I gave honors such as peerages or knighthoods to musicians, rather they used offices in the

Royal Household, the Chapel Royal and the King's Musick as reward 23 for services. In 1605, Jones dedicated his Ultimum Vale to

Prince Henry. \~hether this earned a reward for Jones is not known. However, it is likely that the "Mr. Jones'' listed as a 24 "Gentleman of the King's Chappell'' in 1612 is Robert Jones.

It is possible that this position, and not great reknown, earned a place for Jones in the Fanshawe part-books.

As a Gentleman of the Chappell , Jones would be expected to be quite proficient in reading music and well-versed in plainsong and pricksong. That he could COQpose, apart from performing, 25 would have been the highest recommendation of all. It is note-

21 Carpenter, p. 343 .

22 Morley, p. 9-10.

23 G. A. Philipps, "Crown Musical Patronage from Elizabeth I to Charles I," Music and Letters 58 (January 1977): 29.

24 Henry Cart de Lafontaine, The King•s Musick (New York: Da Capo Press, 1973) p.SO.

25 John Stevens, Music and Poetry in the Early Tudor Court (1961), Cambridge: Caniliridge University Press, 1979) p. 309-317. -20- worthy that although Jones was actively composing in the latter years of Elizabeth•s reign, he was not associated with her court.

Like many others, he sought patronage elsewhere as can be seen from the dedications of his song books. His appointment as a

Gentleman of the Chappell may indeed have been a result of his having dedicated his third song book to Prince Henry, elder son of James I. Jones published no work after 1610, two years before his name appears as a Gentleman of the Chappell . It is possible that Jones again travelled to Germany with theatre impresario

Robert Browne, or he may well have decided not actively to compose as he had implied in the prefaces of his last three song books. Records in these areas are incomplete, although further connections with the theatre will be discussed in the following chapter. CHAPTER III

WAITS, V~SQUES AID THE THEATRE

The waits were orisinally watchers at the gates and were probably descended from the watchmen and sentinels for camps, 1 castles and other fortified places. In fact, wait is the Saxon word for watcher. Eventually they were employed by the cities to keep watch and guard during the night and to call out the time and weather. Their main purposes were protection, order and safety within the cities. To carry out these duties the waits were furnished with musical instruments. These were used to

sound alarms and call for help when needed and were probably an early type of shawrn or a horn made of metal. In 1296, a statute was enacted in London which required the servants who closed the gates at night to have waits at their own expense. Eventually,

the term wait came to mean the man, the instrument, and the music 2 played on the instrument.

The connection between Robert Jones and tte waits only beco~es clear when the development of the waits and their

1 Walter L. Woodfill , Musicians in English Society from Elizabeth to Charles I (New York: Da Capo Press, 1969), p. 33.

2 Henry Alastair Ferguson Crewsdon, camp. , The \1-Jorshipful Company of !-iusicians ( 19 50, London: Charles Knight and Co • , Ltd • • 1 9 7 1 ) , pp • 16 2 -16 4 •

-21~ -22-

place in Elizabethan and Jacobean society is discussed. It was

not long after the first statute concerning the waits was passed,

that they came to be considered musicians. They are included,

called by the nanle of "wayghte" and other variant spellings, among the musicians of Edward III (1327-1377} and are named in

records from Henry VI through Charles I. From watchmen with musical instruments to capable musicians is a logical development of talent and time. For a watchman with musical ability, there was time to acquire skill and thus gain employment publicly or 3 privately as a musician when not on duty.

Many of the principal cities in England employed waits. In

London the nunilier of groups varied from six to nine, and the

number of masters and apprentices in each group was strictly con-

trolled. Their places were so coveted that musicians, good or bad, bargainea, fought, or sued for any vacancies. Often a place would pass fron1 father to son. Their privileges included

monetary compensations and gifts, distinctive livery, status in

the city as freemen in the Company of ~usicians without charge, and the right to keep two apprentices at a time. Their services, publicly and privately were much in demand by the lord mayor, the

sheriffs and aldermen, and the playhouses. They were required

to meet regularly for rehearsals and only the 11 ancientist",

3 Crewsdon, pp. 165-167 . -23-

4 that is , the eloest of their society could dispose, order and direct their music .

Until 1525 , the wait pipe (horn) and shawm were the only instruments used by the waits . The sackbut was added in 1526 .

In 1561 , instrumentation was expanded with the addition of viols, and recorders and cornetts were added in 1568 and 1576 respectively. In 1597 the curtal , a bassoon-like instrument, was added. Records indicate that portable organs, keyboards and harps were hired for special occasions. In some waits the lute 5 and singing were included as early as 1555 . The waits provided the music for visiting dignitaries, parades, and court masques and dancing . The First Book of Consort Lessons by Thomas

Morley was meant as a guide for the groups of instruments used by 6 the waits . Their music consisted of traditional wait tunes

(simple airs meant originally for wait pipes and shawms played with cold fingers) , music which may have existed only in manuscript form written expressly for use in a masque or pageant and music '*apt for viols or voyces, u including madrigals.

Ultimum Vale of Robert Jones contains music for coli'\bination of 7 lute, voices, and viols. Figures 1-20 are facsimiles of tbe

4 Woodfill , pp. 37-44 .

5 Woodfill , pp. 34-36 .

6 Wood f i 11 , p • 4 5 .

7 Woodfill, pp. 44-52. Waits and their history are more fully discussed by both Woodfill and Crewseon. A very brief outline only, has been possible in this paper. -24-

title pages, dedications, and prefaces and tables of contents of

the song bool' s of Robert Jones from Greer.

Ultimum Vale is probably the book included by Gordon Doad in 8 his list of music for viols . This song book is also the source for ten of eleven songs by Jones included in the Giles Earles 9 book. It is this custom of performing vocal and instrumental music only instrumentally that forms part of the basis for early chan~er music in England. It was advocated by Thomas Morley in his book and used not only by Jones, but also by Sir William 10 Leighton in Teares or Lamentaciones of a Sorrowful Soule.

It is possible that this evolutionary process in performance practices and adaptations of popular pieces for other instruments may be the basis for the idea that Jones composed for the virginals . Certainly no music specifically for the virginals or instruments other than lutes, has been found to have been composed by him.

When playing for the masques, the waits probably performed in a room or chamber near the pageant rather than on the street or porch where the masque was being presented. Robert Jones •

8 Dodd, p. 263.

9 Jergens, p. f . 13V-f.22V.

10 Ernst H. Meyer, Early Englisn Chamber ~1usic, ed. Diana Poulton (1946 , Boston: Marion Boyers, 1982), p. 135, 149 . -25-

11 naroe is not in the lists of appointments to the London Waits.

But Jones did have so~e of his music included ill masques. Everie vloman in her Humor, a masque by Macl!in published in 16 09 ,

includes two songs from The First Booke of songes or Ayres. The

title "My mistris" was not used in notes for the masque, rather,

lines from the song were used, thus hindering our identification

of Jones as its author. Figures 21 and 22 are facsimiles of this

song . This same song was used in Love's Charity by Shirley in 12 1631 and The Dutch Courtesan, by John Marston. The latter was

presented at Blackfriars in 1603 , performed by the 11 Children of 13 her Maiesties Revels, " Christ Church Ms. 439 which contains

four songs from The Second Boeke of Songs or Ayres, is said to be 14 a compilation of songs used in masques .

The dates of the songs discussed indicate that Jones was a

source for music used in masques rather than a co~poser of music

for masques. This is, admittedly, a subtle difference, but it is

a critical one, since Jones is not credited with supplying tPis

music in tle published sources of the time, such as the plays

themselves.

11 Woodfill , p. 48, and Appendix A.

12 John P. Cutts, "Everie ~loman in her Humor, " Renaissance News 18 (Autumn 1965) : 210-212 .

13 Chambers, vol . III , p. 431 .

14 Cut t s , p. 212 • -26-

Songs used in masques, were declamatory in vocal style with

rare word-repetitions, except towards the end of a song . The lute accompaniment tended to be chordal with an harmonically

15 statis bass. The aforementioned 11 Ny mistriS 11 (see Figures

21 and 22) very clearly demonstrates this principle. The masque, an offshoot of the main dramatic movement, was musically con- 16 nected with "the great nass of songs with lute accompaniment."

Robert Jones was a natural choice for the masque authors. His melodies tend to be rhythmically simple and singable. By his ow~ admission, in the preface to his First Booke of Songes or Ayres,

Jones' main concern was fitting the note to the word. (See Fig-

ure 3)

Shakespeare also liked to use contemporary songs in his works for the theatre, and in the music of Jones Shakespeare

found songs to express the moods of his characters. Perhaps the best known instance of this reliance upon Jones is in the comedy,

Twelfth Night. The song, 11 Farewell, dear love, •• is number twelve

in The First Booke of songes or Ayers.

15 Ian Spink, English Song, Dowland to Purcell (New York: Charles Scribner's Sons, 1974), p. ~0-41.

16 Ernest Walker, A His tory of Music in England, (rJew York: Da Capo Press), p. 153. -27-

In Twelfth Night II, iii, Sir Toby Belch and the clown,

Peste, sing a version of this song that telescopes the first and 17 second verses. Malvolio warns Sir Toby and Feste that

Olivia will bid farewell to Sir Toby unless he reforms. It is at this point that these two characters alternate singing lines of 18 the song. This song was set in 1600 and the date of Twelfth

Night is 1601. The obvious conclusion is that "Farewell, dear heart" was a popular favorite and would have been recognized no matter how much it was condensed. Another testimony to its popularity is that the tune appears as a hymn setting in a Dutch psalter. The Dutch version is ''Heilgierig mensch," and the 19 psalter was published at Amsterdam in 1713. That Jones himself favored this song is shown by the fact that in his fourth book, nine years later, Jones sets "Farewell, fond youth." Its meter is identical and its melody is similar to that of 11 Farewell dear 20 heart." "Farewell, dear heart" may be seen in Figures 23-26, . and •Farewell, fond youth" in Figures 27-28.

17 John Stafford Smith,. Musica Antigua (London, 1812). p. 10,. 204.

18 Peter J . Seng, The Vocal Songs in the Plays of Shakespeare: A Critical History, (Cambridge· Harvard University Press, 1967), p.106 .

19 William Shakespeare, The Complete Works, ed. Alfred Harbage (Baltimore: Penguin Books, 1969), pp. 316-317.

20 Edward Woodall Naylor, Shakespeare and Music, rev. ed. (New York: Da Capo Press and Benjamin Blom, Inc., 1969), p.70. -28-

Shakespeare also turned to Jones for parts of the mad songs for Ophelia in Hamlet, IV, V. Although it is not a proven fact, the setting of "In Sherwood liude stout Robin Hood," see

Figures 29-30, from A Musicall Dreame bears close resemblance to 22 the words sung by Ophelia. That it probably is this song is due more to the nature of the scene and the impropriety of the words, words which would never have been sung by a sane Ophelia, and to the popularity of Jones• work rather than contemporary 21 documentation. Frequently, Shakespeare had his characters sing snatches of songs or refrains, and further attributions to Jones are possible but not provable without a shred of documentation. Nor in general , are Elizabethan composers, who often set the same words, identifiable unless the tune had been transcribed or the composer named in the manuscript.

21 Heseltine, "Prefaces," p. 168 .

22 F. w. Sternfield, Music in Shakespearean Tragedy, rev. ed. (London: Routledge and Kegan Paul, 1967), p. 57-58, 71. CHAPTER IV

THE SECULAR t-1USIC

The secular works of Robert Jones consist of five books of lute songs or ayres and one book of madrigals. One or two copies of each song book have all survived in excellent condition, with minor problems such as missing title pages. The madrigals, 1 however, exist only in an incomplete state. Possibly this is due to the difference in publishing techniques of the two types of song. The song books include all voice parts printed on opposite pages in such a way that tt-e performers can stand around a table and use the same book. The madrigals, on the other hand, were printed in separate part books, with the result that the loss of one part book took away from the whole.

Lute songs increased in popularity and availability when the printer, Peter Short, acquired a font of lute tablature.

This acquisition in 1597 greatly facilitated the publishing of 2 lute music. William Barley had published a book, The New

1 Fellowes, Madrigalists, p. iv. In the preface, Dr. Fellowes describes, in depth, the location of various part bookst and which madrigals are complete because they were found in alternate sources.

2 Spink, p. 15.

-29- -30-

Book of Tabliture, in 1596, which contained the first solo song with lute accompaniment published in England. In the four years between the publication of this book and the First Boeke of Songs or Ayres by Robert Jones in 1600, books by Dowland, Morley, 3 Cavendish, and Farnaby, in this style, were printed. Peter

Short, "by the essence of Thomas Morley,'' was the printer of the first two song books of Jones, and the first book of Dowland. It may thus only have been for practical reasons that the title pages are virtually the same.

Lute and vocal music were easily printed. For the lute tablature, letters, not notes, were placed on a six line staff.

Vocal music used about a dozen signs for clefs, tempos, and accidentals and thirty individual signs for notes, apportioned on a staff of five lines. each with a note on one of the lines or 4 spaces. Obviously, it is this setting of each individual note with its staff which gives the music its slightly wavy appearance.

Each of Jones' five song books includes twenty-one songs, although contemporaneous song books usually vary in the number of songs. Whether this really has any special significance for

Jones is impossible to know. For all his loquacity, he did not

3 Phillip Hes~ltine, The English Ayre, (1926, Westport: The Greenwood Press, Publishers, 1970), p. 138.

4 Boyd, p. 178. Keyboard music was not published until 1611, and tben it was engraved. This was because of the difficulty of dividing the staff to print cords of two or more notes. -31- refer to this in his prefaces. All five prefaces are illustrated as follows: The First Booke of songes or Ayresw Figures 1-4,

The Second Boeke of Songes or Ayres, Figures 5-B, Ultimun

Vale, Figures 9-12, A Musicale Dreame, Figures 13-16, and

A Muse•s Gardin for Delights, Figures 17-20. However, that it was important to him could explain why he chose to include two

Italian songs in A Husicall Dreame. They are for solo voice with lute or bass viol accompaniment (or both) and come at the end of a book of songs for three and four voices .

The idea of perfor.ming vocal music instrumentally has already been discussed with the performance practices of the waits. Another common practice of lute playing was to use alternate tunings of the lute. The more usual tuning is g'd' A 5 F C G.. P.lternate tunings included the sixth or bass string

tunec to F, not G, or the tunings called the 11 leero fashion ... 6 These were d' a' f a F c. This method was used by Jones in 7 The Second Book of Songs and A~res published in 1601. The words 11 Set out to the Lute, the base Viall the playne way, or the

5 Edmund H. Fellowes, The English t-ladrigal Composers, 2nd ed. (1921, London: Oxford University Press, 1967), pp. 304-5.

6 Veronika Gutmann, "Instrument oder Dininutionspraxis," Archiv fuer Husicwissenschaft 35, (November 1978): 189.

7 Frank Anthony Traficante, The Hansell Lyra Viol Tablature, Parts I and II, diss., University of Philadelphia, 1965, pp. 188- 189 .. -32-

Base by tableture after the leero [lyra] fashion," appear on the 8 title page. There often was a seventh string added below the bass string, tunec to D. To avoid confusion, this note was not annotated on the staff, instead ledger lines were added to 9 indicate its implementation. This may not have been a popular practice. Jones used it sparingly in Ultimum Vale, his third book. However, all songs but one in A Musical! Dreame call for the extra string. That Jones was criticized for use of this extra string in Ult1rnuro Vale can be inferred from the preface to

A Musicall Dreame. This preface is not addressed to the reader , but rather to "all Musicall Murmurers.": Understand me, thou vnskilfull descanter, deriue from that Note of Plaine Song charitable numbers, and thou shalt find harsh voices are often a Note aboue Ela reduced by truer iudgement, which I bereaue thee of, nowing thy Rules, are as our new come Lutes, being of many strings, not easily used, vnlesse in aduenture, till practice put forward into deseruing Diuision. From this preface, it appears that Jones was something of an innovator, often embracing ideas before their full acceptance. Jones also may have ornamented or used graces in his work.

However, we cannot know this because the art of ornamentation was a ''live tradition" passed from one player to another . The second reason is that printers of the time did not have the necessary

8 The title page of this book is misleading. The correct title appears to be The First and Second Boeke of Songs and Ayres. It is usually referred to as The Second Boeke of Songs and Ayres. See Figure 5.

9 Fellowes, Madrigal Composers, p. 304-305. -33-

10 signs for ornaments or graces in lute playing .

The following chart of lute tablature is adapted from

Fellowes. The strongs are labeled treble, small mean, great

mean, countertenor, tenor and bass. All but the treble string 11 were doubled.

Treble ( g I ) a b c d e f g h Small r-Iean (d. ) a b c d e f g h Great Mean (A) a b c d e f g h Counter-tenor (F) a b c d e f g h Tenor (C) a b c d e f g h Bass (G) a b c d e f g h

The fingerboard of the lute has ivory frets. When stopped, each fret raises the tone of a strong by a half step. The small

letters ••a••, ••b••, 11 C 11 and so forth indicate behind which fret the

fingers are placed to produce the desired tones. The letter "a"

indicates an open string, that is, one which is not fretted or

stopped: "b" shows to stop the string behind the first fret. It

raises the string by a sernitone. Each letter represents the

next semitone to be produced on a string.

These signs irdicate the duration of the note, 1 ~ ~ f

~)~ and stand for semibreve, minim, crotchet, quaver, and semi-

quaver, respectively. The last sign used gives the duration of

10 Diana Poulton, "Graces of Playing Renaissance Lute Music," Early Music (April 1975): 108.

11 Fellowes, Madrigal Compo,sers, pp. 304-305. -34- following beats. Dots of augmentation with their accepted mean- ing are used when needed. Barring follows the rhythm of the 12 music or the words, and is not always indicated. It must be remembered that Jones did not always use this tuning for the lute, rather he indicated it by specific performing instructions on his title pages . Lute songs have roots in the "freemen's" songs. Freemen •s could be a corruption of the Anglo-Saxon work 11 frei• meaning 13 14 fesitval or of the term "three men's songs . " In either case, they were lively, cheerful songs, with the tune in the uppermost voice, the tenor. They were the basis for the simple part songs which were so popular in mid-sixteenth century England. These songs then evolved into the Elizabethan consort songs and finally 15 the lute songs. Lute songs ordinarily were published with only a word or two of the first line printed in beneath the score. The singer

12 Fellowes, Madrigal Composers, p. 306.

13 Smith, p. 10. 14 Walker, p. 45. The book published by Wynken de Warde in the early sixteenth century which contains the work of the first Robert Jones, also includes freemen•s songs~

15 Spink, p. 16. -35-

16 either knew the rest of the words by heart or "vocalized. 11

Jones, however , is one of the few composers whose words are carefully and consistently placed beneath the notes in his song books. This note-to-the-word placing allowed him more control of 17 the rhythm in strophic settings of different stanzas of poetry.

The lyrics of English lute songs and ayres consisted mostly of typically short verses. The sources for many of the lute songs and ayres were the ~any Miscellanies published during

Elizabeth•s reign. ~ong these The Phoenix llest and Englands

Helicon were the most popular. However , the collections of

Richard Jones were also used by some composers. Richard Jones • not properly detailing the authorship of the poems in his collections is the primary source of confusion in identifying the authors of the poems set by composers. Another problem in the use of MiscellanieE is the resultant multiple settings of 18 favorite poetry. Robert Jones set many poems of Francis

Davison, Sir Philip Sidney, and Thomas Campion. What initially 19 may appear to be plagiarism is really an accepted practice.

16 Wa 1 ke r, p • 4 6 •

17 Winifred Maynard, Elizabethan Lyric Poetry in Its Music, (Oxford: Clarendon Press , 1986), p. 71.

18 Maynard, pp. 54-55 .

19 Heseltine, pp. 130-131 . -36-

The main differences between lute songs and ayres tended to be those of length and rhythm. Ayres generally had simpler

settings, were more strophic and shorter, and usually were better 20 sung as a solo song with lute acconpanirnent. The ayre is

normally considered a short lute song with the accompaniment providing the clue to the difference~ Performances could vary according to the abilities of the performers and the instru- mentation they used. Frequently this lead to harmonic 21 discrepancies in the vocal and instrumental part-settings .

This, perhaps, is the basis for one claim which has been made

that Jones did not write these parts for what are really solo 22 songs in his last two books .

The English Madrigal developed as a result of the

publication in 1588 by Nicholas Yonge, of a collection of works by Italian and Italianized Netherlands composers. This book,

Musica Transalpina, contained fifty-five of the best Italian

madrigals translated into English, and proved to be very po~ular.

20 Maynard, p. 55 .

21 Walker, pp. 80-81.

22 Edmund H. Fellowes, "The text of the song books of Robert Jones," Music and Letters 8 (January 1927) : 25-37 . -37-

In 1598, ~iichael Cavendish wrote a madrigal with the nLong live

fair Oriana" refrain. This may have been based on a madrigal published in Il Trionfo di Dori. It was this refrain which may have been the impetus for The Triumphs of Oriana, published by

Thomas Harley in 1601 . The Triumphs of Oriana contains "twenty- five madrigals by nearly all the most distinguished English 23 composers of the time. 11 Robert Jones contributed "Fair Oriana seerr.ing to wink at folly 11 to this collection.

The First Set of Madrigals was published by Jones in 1607 .

Its being called the First Set is no proof that Jones intended to publish more sets. Rather. this avpears to be a publishing convention of the time. Where this set is unique is its containing madrigals of 3 . 4 . 5 . 6 . 7 . and 8 . parts. tvhereas most madrigal sets were in groups of one or two different numbers of voices, this book has six different voice groupings . These combinations alone would give rise to the idea that, although

Jones experimented with the madrigal form, he either was not comfortable with it, or was not proficient enough with it for

his own standards . On the title page~ Jones claims that the collection is for "Viols and Voices, or for voices alone~ or as you please. 11 Several of the texts included in this transcribed edition are poews by Francis Davison, and two are by Campion.

23 Walker, p. 78. -38-

The English madrigal was something of a compromise in form.

It combined the contrapuntal secular music of the Italian style 24 and the harmonies of such songs as the frottola. It, typically, was a single stanza of seven to eleven lines in length. A line maybe made up of seven or eleven syllables with short and long lines in any order. The rhymes were mostly feminine and in random order. For this, the Italian verse setting was standard, 25 but short verse, ottara rima or sestina, were also used.

Perhaps, the one concept about the secular work of Robert

Jones that should not be overlooked is that he intended his music

for pleasure. He had no rigid rules about performance practices, and he was willing to experiment with new techniques. He was not tied to rules of harmony and counterpoint, and he seems to have been partial to the sounds of open fifths and false relations.

He was clever and innovative in his use of rhythm, and rests

formed an integral part of his control of rhythm. It was an unhappy man who composed the song "Goe to bed, sweet muze." This was in Ultimum Vale, the book that Jones intended to be his last.

He seems to be saying goodbye to his love of music and composi- tion rather than to an unfaithful lover. That music in his muse can be found in his explanations for publishing again in the prefaces to A Musical! Dreame and A Muse's Gardin for Delights.

24 Walker, p. 77.

25 Maynard, p. 55. CHAPTER V

THE SACRED NUSIC

In a fashion typical of the Elizabethan era one music publication could contain ayres, madrigals or religious motets.

The Teares or Lamentaciones of a Sorrowfull Soule by 1 Sir William Leighton is one such book. It contains eighteen consort songs, twelve songs for four voices and ten songs for five voices. The contributors of songs for this book include

Byrd, Milton, Bull, Ferrabosco, Jones, Peerson, Thopul,

Coperario, Dowland, Ford, Gibbons, Giles, Hooper, Johnson,

Kindersley, Lupo, Pilkington, Ward, Weelkes and vlilbye. As can be seen, Jones is numbered among the finest composers of the era.

Sir William Leighton was born into an influential family.

He had social, economic and educational advantages. However, because of carelessness and misfortune in his finances he was imprisoned. In 1613, Leighton published a book of his own poetry, The Teares or Lamentaciones of a Sorrowfull Soule. This was followed the next year by a book, with the same title, cf musical settings of these poems composed by himself and twenty composers. The purpose of these books was to show Leighton's

1 Walker, p. 81. The consort, in this case, refers to the accompaniment of the cantus voice with the treble viol and lute tablature. The altus was accompanied by the flute and had tablature for cittern. The tenor voice included tablature for the bandora and the bassus was paired with bass viol tablature. This was in reality, the broken consort.

-39- -40- repentance. But, the laudatory verses composed by his friends and included in the introduction of the book, seem to negate this. These poems use word-plays and puns on Leighton's name and deal with his unjust imprisonment.

The works in this book are on sacred themes, and could be considered appropriate for use in church. However, that Leighton intended for then1 to be domestic fare is seen in the style of printing used, that is, on a double folio in the same form as that used for lute songs, and in the performance practices he 2 recommended.

Jones set three poems for this work. The first two anthems are included in the poems published as The Teares or

Lamentaciones of a Sorrowful Soule. The third piece by Jones is 3 set to words not included in the 1613 edition, and the poetry differs in form from that of the others. The words of the first two anthems consist of six eight syllable lines, rhyming ABABCC.

The third anthem is a simple quatrain with an ABAB rhyme scheme.

The first two anthems closely resemble the favorite form set from

The Phoenix Nest, the difference being that the lines in the

2 Leighton, p. x.

3 Leighton, p. xxv. -41-

4 miscellany are ten syllables long. The poetry from these

anthems is included in Appendix Six.

Robert Jones composed a fourth sacred work. This piece,

"Sing Joyfully,'' which will be referred to as the Oxford Anthem, 5 is included in the Christ Church Mus. Mss. 56-60. The source

for this manuscript has already been discussed in Chapter II. No

modern transcription exists for this anthem and may be attributed

to the fact that the bass part is missing and this anthem is one

of a few anthems in the Christ Church Mss. not found in other

sources.

The possibility that the Oxford anthem was the piece that

Jones composed to meet degree requirements at Oxford has been

presented in Chapter II. To substantiate this claim further the

words of Psalm 81 from the Book of Common Prayer, printed in 1619

and from The Bible of 1595 are included here. This will

facilitate comparison with the Oxford Anthem facsimile from

Christ Church and its transcription and recreated Bass part.

4 Edward Doughtie, Lyrics from English Airs, 1596-1622 (Cambridge: Howard University Press, 1970), p. 25.

5 This manuscript has not been recorded in RISM. -42-

6 The Book of Common Prayer, 1619:

Sing we merrily unto God our strength: Make a cheerful noise unto the god of Jacob.

Take the psalme, bring hither the tabret: The merrie harp with the lute.

Blow up the trumpet in the new moon: Even in the time appointed, And on our solemne feast day. 7 The Bible, 1595:

Sing joyfully unto God our strength: Sing loud unto the God of Jaakob.

Take the song and bring forth the timbrel!, The pleasant harpe with the viole.

Blow the trumpet in the new moone, Even in the time appointed, At our feast day.

6 The Book of Common Prayer and Administration of the Sacraments and other Rites and Ceremonies of the Church of England, with the Psalter or Psalmes of David. Printed by Thomas and John Buch, Printers to the University of Cambridge, 1619. 7 The Bible: That is, the Holy Scripture contained in the Old and Newe Testament. London: Deputies of Christopher Barker, printers to the Queenes most excellent Maiestie, 1595. -43-

The bass was reconstructed after a study was made of the style used by Jones in his two madrigals for five voices and the one anthem for five voices in Leighton•s work. The madrigals were used for this comparison because of the similarity of style with the anthem.

In general, Jones uses the bass as a platform for the other voices. Large skips are used sparingly, and the relationships of thirds and sixths with the tenor voice is usually maintained.

The frequent use of whole notes and rests, and the rare use of dotted rhythms and eighth notes emphasizes the stable voice leading. Jones rarely initiates word painting or new rhythmic patterns in the bass. However, the bass is used to start an upward scalar pattern carried through by the other voices in turn.

It is hoped that the reconstructed bass for the Oxford

Anthem is in keeping with Jones• methods. The transcription would not have been possible without Dr. Clyde Brockett. It is possible to include the anthem because of the assistance of Mr.

H. J. R. Wing of Christ Church, Oxford. 44

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I I. ...I 51 Tenor .... l / ~ . ~ ~r--=t-~ ~ ·~· • J : I I 13fon, ~ l'\,ppt: ~fie. bmpt~H. 1 tfv1VC :b/'t£ l/Li hu.m(' E.fl/ . J A t I "'o: .. • H-1----r~ni----=ll r ~ -!~ ~ •1' -----i: '-' n · • t i '? -J j) I l 1 • 1: •. l

~ • • "T _... o• • -x I n _PI I I I T I I ...&.. • 'T 1 1 · y tl-/ '1 ..L~t --/I - --.-J-·-···1 ,_--.:1--...... _- ~ --~~--J· ·L__-L.:.."1 --1-- ! - \ •

'-\ I 1 I _ 1___1 ....:. " - -4.-{1-J - +--+1--.ll- J ) 0 I 1\. I I - ~- - ~ I I / \-.----. A • • I (I "V =-

------·------. I he Oxford Anthem 5.2 Robert Jones 5 ,.,.. J J J ) J f : r· r I Sing joy ful ly un to the Lord our I Js I ) 11 0 I 1?) ' v..- • ) ;) ]I , ' - ;J I l l Sing JOY ful ly un I to the Lord Si ngl I .. I - _., ... f r ...... ,.1 , r t:7 t' , r t l ·~ I I .I ~ _l I I I l I

Sing joy ful ly un to the Lord our i strength, ' I 1 6J ,"? ! .J / J & .. i - ( J Sing joy ful ly un to c=: the -±=-: r2 ( z; 0 ~ f -c f I r r r F I 1 l Sing joy ful - ly un to the Lord our

10 I j J r "" . I I l ,r I I ,/1 . , I f"' .. , I ; · I ~ _a, , 0 0 t!:J • I I I t" l r II I strength, Sing I joy - ful ly un - to the ~· Lord our I -t I I i I : _I 1 I I I I l I I ,) I 0' I ~I I j ;l Ll ! .I I $ /j ' I .lfO I . .,. '-"' -~~ L7 t -v..J I ...._ ?'- ~ .joy - ful l y un to - - the Lord our I I

~ _.,, ...... /) ...... ""' IQoll I ~ 1"' y ·t"' / ...... , I !-" I I j I l r, I I I -r r 1 Sing I joy ' - ful ly un 1;o the I Lord our - - '

I I I I I 1

0 0 I / ~ /\ Q ?-' '- - -~ I '-' ~ -""" lord our l strength, Sin·!] _ I I 1 ' j ,__,...... I I ). ..i"'' J · ...___ ... - t . .,. ... -- .- strength, Sing loud un-to the

('~ I r I J () h fl e J. j . , I I , II { r- j ' 0 I' v 0 i r c. 53

I .i I I I I r r r ( .....J I .;._.J_ I .11' _l [ - - - ~ I I I ~

I strength ' Sing I 1oud un-to the

I I ... I ....,, ... ' I 'I r r r J ; y r . l-:l ...J ,...... - ' 1 v I I .1 ' .;' I - - I - str ~ ength, Sing 1oud un-to the j god of .I .la - ! t ..,. , , I .... I J J l J r ..... f~"" y ...... 1"'1 t v I 'I I L r l - ' I I strength, Sing 1oud un to the god of j I ' I .... ~ ,.. ~ I r r- 1 r r t"" I'> J r I ,I I r I ...... - ...... 'I " '-" loud un to the god of I Jq - I v I (:.) p 0 I I _, I ~ I I

god of Ja cob Ja

! 5

god of Ja cob,

cob, Sing I lou un to t e j I I i /]. /l ... ~ ~ !..... r I r r r"' I v'"' ' .... , I I (7 I v I . I I i - I t I~ Ja - cob, Sing, loud un to thf god of Il

~ , • I I L A. 1 I' I f-" I ....:1 ! ~ _J' _, I r ..__ .__. L l?_ l I .t/ I I t -fi /" / / / I .... l I I cob, Sing loud un to the god of j Ja cob, i · ------~------~1---o------~l ~ 0 ...... __ eO 0 ::::::::=:J / '>~ f · cob, Sing 54 20

... ' I /"\. I I I ,. r r r y ..-J I I ...,j I 1.1 I I I '-" 0 - C / I r '

I Sing loud un to the god of Ja - ...,

! ' ~ I I -, r 0 ,..... -· I L-" god of Ja - cob,

J l r 1 I I I _! I I t:7 ,J _,.J ....J rl 0 0 ...... ,, ''-' - fvO I ;., ~ I I Ja cob Ja cob , of Ja - ' - ·- !' 1 _,I j j I I ..J I _j J ! I ...... ~ ..p. 0 - I I ~ (_., I /'l "---L-- 0 ~ Ja cob, Sing 1I. loud un l

' . ~~ I _, (l &I j9 r c r f & loud un to the god of Ja cob, the

25 I l r I ..,....J. I I' I l J ' -1 0 ...J ...1 I I ....-..1 - ' l-' ~ ,/ -11 {2_ ~~~~ / .. -- I cob, the god of Ja - ·cob...... y 0 /'\ i.-1 I I - I I ,- a -f-"1 ! I I •i' the god of Ja cob. ' 0 0 I . i I I ' I - j cob, of Ja - w cob. f l j ~ I I 1 I 1 I' I J ~ t 1 i _, .., i I ~ .t I J · 0 ' Q _ l t--1' J; , .. ~ · .., I J I ------, I t:..-1 I t ,. I to the god of; Ja - I cob. c9

god of Ja cob. 55 1n I ..... I _, . y I I I I , 1 1 (.7 I /"'I. .J \ - r.:J &\ c_ , - {./ - ,. ... ./ 11 - ' Take I the harp and I bring forth the -""' •- I I r 7 A_ f 1 ., ,, I r . 0 /". j A I !--- ...... fr /'.) : f ~ /} j I

; t the harp, and bring Take the harp I I ! J ...... ~· .... ~ f I f~ ...... ,I • / , r.... - ti ('J ' ,I I [/ I [ I J .____. ~ """' ,- r A I " 7 - J Take the harp, the harp, take the t ; ___. 1 1 f ._,...-I .... I .I .,...) I (/ y, v I ' ...... J ~ I' J I Take the harp, the harp,

• a ') p r t f \ (2 Take the harp, the harp, take the

35

I I ., 1 J Z' 15' ~ f ) < f J JI I tym brell ! tym brell the tym • 1__, I 0 J r ( ) .J , CJ r forth the tym- 1 bre 11, and bring forth the I I l _..., I I I 1 ,...... j 'I 0 r o· i I .. I I t.:l' [.I' ,"".... '-_.,; --- r I I ~ harp, and ~ bring forth the tym - brell . I ..,...... I ~ I I j J I 1 ;r .I I ...... I I, 'I I J. I r'/ I i' l . + ._) '·" and bring I forth the tym - bre 11 , the ~) ( t I r- I 'I r t z r f harp, and bring forth the tym , brell, the 56 40 I I , I I I I t I 0 I _..i I I ....i ~ " ~ li / 11 1'.1 I ---· , - brell, and bring forth the I tym - bre11 , tym - brel,1, .. {/ I ,...., ~ I 1 (') 0 /1 I 'r - , 1 ' "- --- i I I tym - brell, and brin9 forth the I ..... _,.., ...... - ! .... ,. j 1'7 i ,..., 77 ,...,. - r - T"" T ,_ I I J ~ I I I I I I 1 ( bre11 ) the tym - brell I the i I I II u I £!' I \. A J ~ -1 ' / ! ',/ , -. ~ ,

tym I forth the tym - I brel l , and bring I - .,., & tji...... , J F F¥ l' tym brell, tym brell ,

I I ! I I j I I ..... l -- ....,..-J / ...... ~' I' ~ ~ . J the ~ plea sant harp, and the sweet ·' I - ' I -- I i 61 ,...,.,, , ) , 0 f' ;::z e J ( , " • ' tym - brell the tym brell ~ the ~· ft c t r 19 ufJ ( I f c t '

pleasant harp a:nd the vi 0 ll ' the . pleasant harp,

·9'9 j ) j J > GJ . or _ .,-5. brell bring forth the tym brel1, th ~ e f ~ __... '9 l? ( !!~!!!!!~ r I -- - Bring forth the tym brell,. 5'7 45 J I I I ,[ f I C) .A .A I .A I j ...l ...... - ...- (./ .._... - ./ ~~

vi - I 011 t sweet vi - ol,l ,, the

I I I -.- 1 l l 1 (7 I I ...!. I J 0 ' .A / I J / .• $/ - , r ! I - ; brell, I the· 1 pleasant harp and the sweet i I p I I r- I I <../ I_ .c;..' ...... I"' I I r I I I and the vi I 011 ' vi - 011 ' - l I I I . 0 I I ..... / r I -.J , y v ..-. I I I ~ : p~~~~~nt harp, and the sweet vi - 011 ,

I _...., v ..... , / / 0 I I r t'- I I \ II 1 I J I I the plea sant harp and the sweet vi - oll,

50

1 I I I I , j tl , I ..... l • I , I J L t-" 0 J .. I - ~ .. I .J ' I pleasant harp, .. I and the sweet vi I ollll the ~ _f I A · • / 0 ..... J i r 1 ...... -- l I I vi ... oll. the plea sant I p .... -

r \ I i , T 0 I 0 I I' f I I "- "' j - I I I I ------i ; .. the ple~sant harp, ~nd the vi . - - I I _l I --- . I I .....--1 0 ,.. I r l / C-' ..

v·i I 011' the pl ~ ea . sant harp, - .... ~ C) r 1- ~ / r- I I /.) r ( I l r I I . t

and the sweet vi - all, sweet vi ol1 58

55 I L/_ " I I I ' ,\ r J"1 I J _{l J f' J 1 _r: 0 / I I I _I_ ,r ~ pleasant harp, • a.nd the -- swe ~ et vi - I I - _...., .! \ t" I 'I - ~ I .0 I , / ...... I .A _j - ~ · _t2_ 'I I I harp, and the! sweet vi - oll , vi - , ·v-'l I t I 0 f" A I _l .,....l I I ...I fL

~

I 011 t the I plea - sant harp and the I I I I l I I I i .t' I ,I I J ' t7 L"'c J t I - • I and the sweet I vi - al l , the pleasant i - I - - -

60

j_ ,....,...... - J A I ....! .... I 0• c:- - , oll, I and th~ swee ~ vi - l i I I .,1 I J .J {J_ j_ L1_ v 1 A , 'I J _L _r I 0 .... I I ' I oll, the I pleasant harp . j and the sweet l vi - _... k -r:= A 0 I ~ , i .& t l I - l t I I I . I t l sweet I vi I 011 ' the I _I I 1 i I I I I I 'I \ J I 11 _j ~ C/ - ; I I J , _lj ./ , .• I harp, sweet vi 011 ' the pleasant harp, I and th~e I - ~} ~ t r r JI J ----1

the pleasant harp flnd the sweet vi 59

I ,_ I I ·- ..... -"' I '-"' - __...... - oll , I ! --- I I ' ~~ "' ..... r I f"' f' ,...... , ! - I' J e_ I ._ ...... I ' I 011 ' the plea - sant harp and .. 0 1'1 / r \ / {-' 1 v ...... I I r- l I I --~ J _L I l I j pleasant harp and th ~ e sweet vi -- 011 t I ! I I I _I_ /) . \ ...... -. _...I , r D I /J I 0 I I I and the sweet vi -- 011 , and l the /.J ~ ....-- -=-" 7 I ,.... r "' / I T T r l I I 7 l I pleasant harp and the sweet

65

- r I I I .J I I J - I ~J ~ v I • J ¢'/' ~ --, .... , the pleasant harp and the sweet _,.. ~.i:f -r r L) I I tJ "'- .-"" I I l 'I I 0 -1 F' _l T 0 j I J l I '- - - the ~weet vi 0 ll t and the sweet vi - ll n - ··-' I I ~· r I t f7 I. I -' (7 - I l !'_ - 'j j -- w sweet vi - 011:, sweet - vi - " ..., ...., .... I I I I T T , t' i \" .A t7 r 1 T 7 T - i i J .. ~' -- _l , I' I I I .. ' sweet vi - 011 , fhe I pleasant harp and the sweet I ' j I I u ...... I : l I .J -,1,./ 1 0 I ..) , f I

vi 011 ' and the sweet ou

70

I I - I I / .J j ~ ~ I -- I ...... (."1 7'7 . - ~ vi - oll, the pleasant harp

I I '\ -j , I ...... I I , . ... A I 4:10 ...... , 7 '--.., L' ..... oll the plea sant - t --1 ' ' - I . L I I ,., J 0 .I I / ...... I I ~ ~ t" / r \ _fl_ 0 0 . ; _ II I I 1

I - oll ~ , the pleasant harp and the sw·eet

~ .... I ~ ~ y .J.oiO c../ I-" ,.. I l I r ,.. . I I ...... vi - 011' sweet v+ - 0 ll ' L""' - ...... I l I I 0 ! .J - .... t 0 -- I vi oll, the sweet

75

I I I I T I' ..J j I A: ~ ,.. ~ ...... _() ...] ""' ·...... -- • - "' -- -- I and the sweet l vi - 0 ll .

_l I ./1 77 0 ..... 0 0 .-I - 0 I y l \ t" - I I ---- I . ----- harp and the s.weet I vi 011 . • - I I 0 ...... 0 C) £J I \ ..... t (7 - I ·-. vi - oll, sweet I vi - 011 .

I I ~--- 0 ...... J 1 . _..., _/, I t" J -""· I • '17 ...... I I ...... ~ I - ...... - I t he sweet vi - - f 011 • I I CJ

- I I C/\. ""' if-" I I 0 T l I _! I ...... I ...... vi oll, vi

~ •... Scr-ibe.\ error: shc~AIJ b~ 61

80 1'11 I I j t" ... ..,. I - - ( j J .I I y ..,-" r .. ... 1: • I &low up the I trum pet, I -

~ j j I r ! - j I t'"' - ..,.A .J -, .. 1 Blow up the trum - pet,

.... ,., .oiL r. .p ...... r .r I> t" r r r- f-" I I t' J I I i ·p I I ' I I J I I I ' i Blow up the trum - pet, Blow up the l trum - pet,

I I 'I ...... ·r I ""' ~I "" j f' r l ....J ,.._.. I r- r _r A I I I ..... I i I I r:.,; I . \ Blow ~p the trum - pet, Blow up the I trum - pet, . _/ I •_ ....,;_ 0 / ~ I , / I l I I I I I I I I I ' l I ' .

'Blow up the trum - · pe~, the trum - pet,

85 ..... ,...... f" /1 ..... I I I ~ I I I r ( J-· I I r .J ...J -1. - r .... I .. l • I trum - pet the I trum .. pet, the trum - p ~ et,

A ..... \ I p ..., . ':.- I t"' ~· \ J I r _1 L I t ~ I - I - I

the trum - p ~ et, 1 the I trum, - pett

~ _,., ...... i\ I .i -/l, - ,.,. _r_ ·p f r "r' l"'l [ t' t' I .I J l t'" 'I I I l I ' ~ I • ' I •· r • Blow up the trum pet, Bl ~ ow up the trum pet, - 't - I ...... , I ...,. t l j_ L _L A I r r- .J r .J I A J f ~ ...... l I I " - I ' • I • . I I Blow up the trum - pet, Blm._r up the trum - pet .. I I tt) ' 7 -, .0 _/ I .0 i I I -I ... 7 I I \ I I I I \ l I --J I I _J ...... Bl,ow up the trum pet, the tr.um pet, 0£

_I I I I I { I J \ I \ I I - / - 0 / / -II I L J I J j / - .Jf' ,o I .J , . 0 l}n] the new moo:nt ev'n i n the time ap -

-'-" , / ,.. I, ... I t' l v t ...-'"'1 - .-" I I 'I_ l 'I J ~() - in the new moon, the new I I ~ [ ,., - ~ ,...... 1"1 -..." 0 , J ...... I I ~ l I - I 1 I I I in the new moon, in

I I .I I I I I j J l J _0 - r:; , , r , J p ...... I > . I in the new moon~ in the new

/1 _,. / r- .,. r r r / ..... I ~ - I I J I \ I - 1 in the new moon,

~ A . I I. I ... , r \... r f ,c;,l ..-. A I...... _ _f I I """' I I I -' 0 l I. !> .._ _.,.

I poin -ted at our feast day, I at -· .,_ -/'\ - moon, I l I _.., I I J r ~· I I J , j ' , - \ t' 0 .A A , I r-- : ~ ~ - ' .

the new I moon, ev•n [in) the time ap-

J I ... ~ .. . j I ~ , ....., '7 I I r r T I \. I _I I , 1 _ J J .t J \ l j ~ , I - ,. .. ""' I I moon, ev'n in the time ap - pol nted 'I at our sol - emn -( :i- _.,.__ .. I I + _-f- .... _, t -"' ~ · T I I I J.\. 1 l r 0 ~- , r I I 1 • \..- I I r I I j_ I . . I I ,r ev•n at the time ap- poin- ted,- at' our feast day, at

93: [ot] :, Ct =at "II otl,~,. v.,:a · ;"' 95 I I [ I l 17 ...... \ J I ,_,.-. .,.,. ._..,...... , ""' _....._ J /r ..r.JO ... " r--- our feast day,

1 I - I I I / I - ... - I I I J , r I I - I J , I v_ .... J ev 1'n in the time ap - poin-ted at ,. 0 , / f6\...., £)- • , r I ... J l - '-'J' ._ I l I I I_ l J ,. - J . I j

pointed at ou~ast day, our I feast

1 L/ _.,.. ... II l I y ., _,; r .. Cl - 1 l I I r ~t _--tf 0 II ' I ~ (' I . - I 1 feast . day at our feast day~ . ev n I I J _, .. _) 0 ['j A I \. _._ r I ,• " _, . I "'-... ..,.,.. t' I ~ r I I J ..__....- . I I I /\- .,I I 1 our feast day, the time ap-

100

I· ..:6_ _._ - - J J J I I , I _1 - I I I J r ""t I ) , - I • C/ - ev'n I in the time ap- pointed at

~ -

--_r- r 0 ~ ~ J l I r r 0 ,_...... I 1 ' ' ' our feast dayt -oGr feast day, _, -'* 0 ..,_ _....,. r I u - I "' I 1 - _ I .• " • day, ev'n {j:rl:J the time ap ... I

I . /'1 ~- I I I , I r T , o I I [ I ~ , r l l I 'I l A _, J .J _, I I , ' / ..

I in the ~me~-- ~nted a_p_ a or feast day, our I ~ I -"" o----. / r J I I I , r l I , f I I .I I I i I - 1 _l 1 .._; . I . poin - ted at our fea~t da,y, at our feast day, . '

roo -= c t. .) o t h, ,. u o ' " ' s :'[1 h) ~.5': = a~ tr~J"))~ribed from Ct , q~:. altmne ~c,."i.ll-,ed o~;~{ ti VOIC~ b4

105 6J. r r f d.· 0 I~ j A our feast day, our feast day, ev'n I - , ...... ~ , - I J , {'- ev'n in the time ap- l pointed at

__..,

~ A 0 ...... ; /) y ./ 0 J I I poin - ted at our sol - emn

0 - ~ ~- - dl , - A '····-...... feast' day, i at our feast at ,. I L LJ / !-" 0 ..... - _A - v our feast day, sol emn

l ...... -1 , I-' _£!_ I , /_ , - t in the time ap-, pointed at our feast day, ev'n l

_, ~ 0 /"1. J l '-- - ...... ~ J I 1 / 1' , -": ! I our feast day, ev'n in the time ap- pointed

0 ~"' _.. . ·- .A feast day, ev'n

, - ...d A (,} - :..' - at .our· at our ~ ~ -{- -f- , , 0 / ( I I - feast day, ev'n in the time ap- poin - ted, feast

I 110 \ J o· / u. / ..--1 ,-,I / <--- ...... in the time ap - poin - ted at our I

" 0 1-' - --- '-I--'" I at our feast day, 0· / / ,.., --;;'? .I , .... .-/' / l /

' (i nJ the time ap- pointed_ at ' our feast day, I

/l. O· (_.) y 'l

I : feast day, ap- poin - ted at o~r 0 I ~ './ '7 .~• I v ' "'

day, at our feast day, in ' the time

115 I I , I-"-· .... '--""'" 0' • , / ~ {-"' ·feast day, ev'n I in the time ap- poin. - ted

I ....I -"' ...- 11 (7 ~ ...... / "" 0' - at our feast day,

/• , 1-" t"' ..... ' '-""- .A ~ I time ap- ev.• n [in) the .. -· / y" ..... ;I " ~-- c. C'J feast day, ev'n in . 'the time ap- pointed at .r 7- --?- ! "' J ~./ y" ' - ' ap- pointed at our sol emn feast

ibli,hing Mil' 414 A '' ••••• 120 -'"' " ~' y r ..tFU L ,..j _L_ y - "" at our feast day, at our - ...-{ _, (7 ...... _ - ...... - __:..., ""'- at our feast , ~ L) ..a._ /1 , _L r ..... I , y r1 : pointed at our feast day, ev'n th time ap ! ·I .UnJ -

0 /'1 I '-' - A ·• -- - our feast day, ev'n ..., , 'r 0 ./? 0 I -- \" - ./ Q_ day our feast day, feast day, ev'n

1?!1 ..-. . - _y 1"1 / ,. _V . -J ...... " ....__l .- feast - day, at . our

1 I _L_ - _Ql_ .A (7 I r-i 0 ..... day,· ap - poin - ted at our 0 ..., v ./ .I y d ' I --- poi n. - ted at our feast day, at our ' .. __.__

I I ...... -1 v , J - ...1 ...FJ Cl' ' 'b'O .L I I ( t- I in the time ap - pointed ' ' at our

_/)_ /1 ~ ,~ ...,. / Ll' .f"' ' _r:: , / I in the time ap - poin -ted at our

11ishing MP 454 A '' ••••• 67

A ~ ~ ...... Ai 0 C- - ' -- feast day...... I c..- _.-, ...... I :-... - ! / feast day. I I -- ,., .-... __, ...... '-• I " -- I feast day. I

u ...... I ..... - feast day. I I ..-.. I ......

~ ·~ <- feast day.

130 ...., f/ , .A J I 0 A - -.::::7 • - - A - men,

,....~ . ~ / v ,_....j r I I I "' ··"' l _! A ------...... _..... '-" ,.....- '--" - - . A - men, j . _t !-"'"- .-1 "' 0 '--"""' I - - A - . - -

...... I I 7 A / I ~ A ...... " .i \""' , ..... I I .I t-' /7 -- t I ~ - A - -

~ I .,...... I l I t--' 0 - ,I .A " , ...... I I - men, A

I ' .M .? . - .I / r ~I r v ...... t"- I 1 I, I _t"": J I 'I T . I ' ' A - - - ~ - men .,

c- ~ I ,.-.,. .-I '-"' m·en, A,

I . I I 1 I I I /J I --- I T J , _t: -.A -' . / ' I men, A

135

l I I I I _I .....-1 ~~ I I I I -, 1 0 . ,_..-l - I 'I .I , J .r;j~ r / , --- ..___ 01en, A -~ ------11 I

- ~ ...... I t" ,_, r p ..... r- I J I I v I l J I .- - men, A - -

I I ...... I I -p v_- ... v C7 'I I __., - I - '- - A men, A : . ~. J I I .I ...; .I l I J I .A ..._ L7 JJ J ~ , ...... - ~ ,p v - - - - - ' , - -

... I I I' y J _!_ I T / ::;:r I I ..... ~ I I I ...... 0 ~~ - V" men, A

lblishint MP 414 A ,, ,., •..,. I I I -~ ~ ..._...... - t:f a --- - "'"'' ------men. !

...., ....,. 0 ...... ___...... - men.

.A'\ _,... .,, ~ ...... - I - --- -/ - men. I

'-' ._...... , /i - men. -- --- ...... -- ...... ~-- ._..... men.

/

tblishin9 MP 414 A '7 ,,,.... 72 ______, Ff gure 1

I I I ·- ----

IH£

i FIRST BOOK E' iRe..ti.iu.,~ l II ofSo11ge' or q_;fyftlJ of 'I rourf! pa:rn \\. ilh TJ... I 1 binsr~l"' r tb(' l•U. I ,

1 I paru togethcr,,or ~l the r of · I , dle1Jlfhu::r2llynli'ay be toils it., _ l 1 l~U~~~r. to dte Lute'• Orpbad.~ 'l r or Viol .de glll'lbo. Compoft:dby Robct~ ltJ~X.to

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.... .,. 73

..... f Figure 2

TO THE HO ·NORABJ.JE Ai~O VETt T\ OVS GENTLEMAN SIR ROBERT SlDNEY .. KNlCH -c Mai~fi~e tO\\'ne Gouernour ''nder her of the ?f Vltl}bitJ'1 and the CaAJe of the 'Jl....dl»tft.!ns In the low C oumnes, and of t!Jtjorll ojtl,tf411Jt AJ}'tntL.,r,rpuh thtJ•rr-ifonthen· In plilctdMTftU D/ b~ifi~jiUitt. ---- ~~~ii~::5fil Our great loue and famor Honorable S.yr;euer rhanifellcd toal \\'OrthyScier .. ' . . ces, hath ltnb?!dened me to offer vppe ,t , y~ut ~ord .fiups Shr}"nc:, thefe the vr .. wortht~ · trau~~· I labours of my uulicall And though in refpect or their \Veake nes, they ln~y perhaps leenu: vntin1ely •=:::-o::===::=::::::;=~ broughtfor[h,and there·bre the vnlikelr­ erlo pr~fper· , yet doubt I rt~t butj~ renderd. by you, they fl1all ,happcl•e find gentle cherdh~ng, w h tel~ n1ar be amea ne to make them more tlronger, or elfe mtfcarrytog, to etcour~ge my en~ ~ deuours to beget a better: for as no arts 'vinclf; at fe,ver errors .... than muficke: fo none greater enimies to thcirD\voe profeffion then Mu 1cians ;whowhd.n: in their-own ~tlguaritie,theycon ... demne euery mans ~?rkes » as fome wate ~duty, they are cbe caufe., dm an: istbc ·ldf¢c~emcJ ian~ they thuitfelues f,eEuted as fclfc.-com e1enders, :tnd men man fan[aLlicll. \Vhc:rfore if chis one cen~uring ' infirm .itie were remoued,. thefe nty ayres (free l dare fay from groffe crraurs) wauldfit'de euery where mort: gratious entcrtainement • Butfince eu.ei thofe. who are 1 betl:fecneirtthis art, cannacvaunt themfelueJ free from fuch \. l . de. tra, ~ours~ ~ lhe~ leffc: rega. ~d irbting_fo w~ acco.mpanie .. ' I ~ ! Howfaeu~r tfheretn I may gatne yout Honor~goodallOwan , ce. , fuaU thinke I haae attained co the better en de of my labours 1 (\vbicb with my fdfe,andthebell of my Ctruite) rcfies eaer "' more at your Lordihips in1ploim'enc. Your LorJjh1ps lmotetl in ..; ~tO I dutifii/Jfirmc:e. I{ aobett lone:• 74 Figure 3

ro TH.£ R.E.ADER. :~ ·~ :;;><:· • •• " • • • EntlettztnJfincem.1dt/ire.u)ourtllrtsfo;ulde · ' ~: ~: -" - ....:~;. i ·;:.s ., benl.}indijferentiudgtr,fclll'not thin4!1t nt .... ' -~~i ... ~ . . ~rflary to fila'

' .J -

·· .. ' I:J Figure 4

-- ~~ "~., A Table of aU the Songs contained { ~~~Ul , in thir7JooJ:c. ·I· ,, AWordans LookecS L ·: : ; . Fertd Wlnto~youdu lL ~~= She,ewhorematd)Jet1ebcaury m., ~, f+- Qncre did I laue IUL I t.... '~~!~ L~d ~r~. Atongdc:fuc v. I r-· l! Ltc dOwne poorc.bean VL .J ~ • n W'l. I' .. _, ,.: ~ ;.... -b ;_nere rngrrngu:are vu .. , .-: i1 Hcroatenotchougb 1 VUL r --- ~ ~ z- ~ ·!.... Wbcnleucandumo IX. I r- ~ !J • '*""~~ "'' Swee(te come awa t X. • -.a '' W·omen·•hata'icrtbey XL Earc.weHdc:crc louc xn. ~ · >: ~ ~ 0 my paorc eiu . xm. r.~ ~ . a, Iffathers knew 'X1Dl.- • ~e . i Life is a Poe&J phablo xv. ~~~ Sweer.e Pbilomdl XVI. f'i ~-., ~ 9 Th:at heart xvn. I 1 1:.! ,.,.~ ' VVbit: ifl feckc , MymiRris · ~ M ~ Petplcxed . ,. _ 1 ~ :\ Can lllodca pbine dctir' ' ... 'I :!1:1 ·..,." - '"1 . ·r.::_ ~ .. r"' fl':'~ -.: : ~ ~ I \ .. l j It'. I ~ -I'.: ' I ' .i I ~ !l',j .· J". ~t :!"" .... . ir.-"! I • ' Ill. - -· ... - ... B

; ' Figure 5

------~- ____ ....,...... ,_. +-.' ,.__ - ·.: :t· • t'

lf~; f"lfl! TJ.{E B 0 0 K E 0 F S 0' N G S AND AYRES, Set out to the Lute, lhe bafe Violl the p/.r-ynt W.dl}', etr tbr 84ft by t:ablcturc :afitr lhc: lctlo /~114: .,. C""ftftJ/;J K:obert Iones• ... ~·ihl~ by P.r. f« Af,.,b,.s,,.,, by •be ~J{m ~f1"1HtfNI Al~rl')l .,J .,, t•6t Cold •l •he Inner l(mplc u •r • 1-ot. II Figure 6

...... ------·--~ ·------

T 0 T I-1 E It l G I-I T V E R T V 0 V S A~ D \V oR T II Y K ~I G H T, S 1 R . ~ H F. N It Y L f. 0 N ,\. i\ D.

:t ~ ~ ---·~· thi~ ~~. ~~~1 , 0 R T H)pr~u~', Si r, .:mJ. my_Honour .abl c fiicnd: ~o?rcI giue you -·r·! • .. .. CIJIIJ.l >:ou hn,ng at vp ,bccaufc. I ttm o1 m:.n ami t.' '~' · ~ .. _ can nor maanr:unc •..t : 1t •.uy ~ulfcc mu.ch.aduc:rfi.u~ ~~~ . my nam. .c: · \ ~ . · '.'. . your For~u~c .m;nc aJ~crah · oe, llJSl ul.ltec~Uh.o rt.Jrrcs .. :1_nd. un make h1m hJppac • f .. fhopghllllbtherbe Orpbanrlorpm. rc I .mens CbddrlfJ -are. Orpl,ano borne. and more to be piuiC"d d~cn they liJJt h:J11c changed thci dltl cr)lor their l.tuJ; ~ fud1 m.,lc •ai(e themfduc~hl due time ; we h0111C oo wJ ic tol lciglncnour being'\ bm by .l•lothcr po·Ncr. As Gcntlcwo-. mtn pecce lhcmfd,•cs with Tij es and Co roncts,to .:t p flC' .trt mor~ per fcma.blc ~nd t~ll: {o UltJfi woaJdc VntO OUl' ):ulc:tlCS {if wew\11 not De (corned iardw.:arfcs) rhccro,Y'\lC: of Acnllc pC'1fons m:>re cmi.ncnt and hi~:;h. Our (Lnurcs .:~.rc . nor fct aboue d.3n­ gcr i WCcJu:Jowc, hdor C:UCflC footetO trcadc vpOtr. OUt place IS he cround, there i..cnodnng balc-~trws,andyc:r dcuil~ion .._.mpun n lower, if wee h~uenotgood ;~(reds. Th~ y wiH fin_J _ me~nc:~ . lfl digg c and In vs down~ i.rn u the cll!th, ~ nd burie ¥S bcfotc ourume : Th1s 1s the nufc of p;ttroua~ct nnd thli ts rho p(rlecutton o( ahem tlpt wouldingroffc ~11 Gloric imo the~r owne h,mds. But t~cdJt UJl~ o~ rht:fe mc:n, they bite the truhe~ t.hcmfdues 01ould fee de vpon. Vcrtuc would llrlng fonh m:.mie {h1idrtfl but 1hey hold them an the wombe that lhcy d.ue not come hut. As the co­ ucrolls maf\~~ fi~gcth aU the hind about h1m, wath fi3tuu:s. 6ncs,:and b~nds. i1 nd othc r (uch Iike~iu· 1warre: (o doth the ambitious intrap the Jinle: pori ion ofante commen­ dations cha . m;~ : ic fie II bcfidcdilm. And like the mercalcff-: Souldicn; 'lhe Cafilcs they c.:mnot t~ kc, they blow vp. They :uc a~ f(,nring of cucr ie Cm.UlrcJun~flc of crcdif• ~s iflt were Iaide vp in oonnnon-b.:mke; and the more were giuco a wile, the IelTe would .. ~orne to tl1cic n•arcs They.a1 c mafcra~lc: men) _f r.!o!ill onlf br~md (ht.m wi1h this m.. rk~ ' and let dttmgoe. T.hty were E.aglci. tftheyd1d not rJtch Hycs,as l.heY. ate; thc:y-:•ro grculhings)muchldfcthcnno&hing For my parc)l willnotcorucoa wiJhchcm. ( aeiire JlO appf~u(c or commcndadons : lei ch~m haue the f.l'mc of Ecchocs .and (oundf, and let me 'be a Bird in your C~ge. ''!fin~ to "'Y fclfc ~nd yo-.1. Tl)is is uiy coment:, and this is my llmbition~ if 1 haucthis, J.fiile nm in mtc:xpclh.t:on, il more for rour {akc,th:~t is my a.shbntagct, andl will owe you duciie for it.; in the m~anc time: lrcfL

fl. 0 Jt I. ll T 1 0 H R ~. A 2. 10 Figure 7

,.

f

T'O THE READER.

r;S'I~~---!:!!!!11~~~ E AD E R., 1 btt11t a'trl mor.uu/ut,tiW.tJ to At~ II>J ou.,jlU, rtPhul~.r Jb411t ,/6o1ft }WU, "r no, ;, td~n( tlull --=· ~"'""".m~«h ft~inen~ rltoife thrt. e~tU th4t jwiUf-'1 fortify j, .- ~ry inrtnl toJll~rJdbtt ll'lll J"'J, 1tt btc.tufo ...... zk."ow tlwcwot r ·41/d I ,IU''jtl'l!.lrl ftDf.. gr~'fl.J(/t/D comftlirltfto Wil.rr.ant "'J t,nJtutJMrs lll-"'•fl o~U met~ ~ J •/J .q/J it 110 fJ1J1111t /tJ. () '~~ 'Vf;ri~btrztQt ~~~ th,t.tiJJkJ't 1 ~~ J tntlfflt IUJtl~ AUfljt my Jrlfrof~/lliJ.tnl:tt /,ylugg•"J ~~a~ \!~~~~ iby fat~olll' ~ whrrtin l t'~sft rt~tiJti /tJ i!tftritk rkJt ~D/11•

II~~~~~-:!~~ l/lllldllllorlt 1 then PJ my ownt !"•'fi 1, to frt "9' l'.4h,D~ifl: '! ~Ill (o J•lr. The ll'NIIb b, lllthlugh l w• n•l fo nilt Jll!/ltll J r:ptnpofol l~r{t cA7r.n, t~.Jt 'J J4n1Jt~t jl#11d c, tbrb•~r~ of t~rirt~~min~tion : Ttt Jwould bt ~it~J( if 1t ,,;~IJtbi) thfl~tlt /;J1nJI7 .tpptabat~tm mtJ.btgtllt:ll1t mcouragtmtnt.to foutJJm, t1Jan4,rfoltJumfltt /Jrtllt'fJJJ!J. rlmu 1 t4t't.J hertJ/ttr .• Jftb( '"Dtt~itr aif/tk! dJrl·, 1ll mj/iullt- th~tt lJ:,U fo e~DlJ t.il fl#bff,fl.l 1/J,_ pri~.su rt~nttn!'"rntu( .Jill.trJ G.:nt(tmt,~ith~ut tbti~tonj~IUJ ,lh"*!.h ( l·bPfl J nor 4· g•mJltbdr 'tltls: 'R'Ptrt.m if t~oN ftrJJ afl.lltiJmg to rnrtttfllltb·rlq Jefir'i rblt~.'k, m~; jtlr th'] rtltre . ~uwr mr.~nt tiNt~ J (.n·ow nDJ l11w 11# "ttii/I•rt~t.t. mt... Q(lr~IJ .t •Mtillllb~n~l tkrtp,~N:/J btn~ Gt:J~thm•n ( ...,btn /H 1tJ4j ~·1fo m'f,cb p•rnu,forfo hulltM#!J) tb#l w.•D n'' ~911.· cl11~1 ht c~n 4~ ItA{/ k •~ loiftr biI' .' ·"~~~·;,, .1/{l~''~Jt/Mj/rlrJIJ .,.,;g_olll •JtiK tlritil •f.hu tNnmng JifJ•tlltmt•tJJ tbl{ttll) bt.(t11Tif'lfllJ ~~ JUJh. lllfJ nolli'IYIIJ hu, ti'JN)t .. rl1tfo {Jrtlo dtjil'e,him Cif ht-6·t nt~~zr,uii'."'P•P •lirb"n·z ii,) tb41.'hf'maj(/J 4ctrp1tbt {N6!inrr.i ... DnDfiii.J Nt1111t,.M 11 f~cirnl Tiflsmonit /th~t J ttm wat ;bAiflrJ o.{'inflrt~DJ~Il, Jflhtrtifl {"Iter 1i»94fftt~.r . rt~h•ffi:•NJ 7rll,. ~. ~ J~fiijitJIIj:on. ~s{o~ · rbrr~fl . tb~l1f. DM/Jj~ . inc in ... formt llltil ,tbt:Y.k!to'f!{Mtt'lhm~ /Jytbur gmzt411Jtjl,~ ~{INtrltlbltlg; J ":'IJ n1t j11 rn•ch 41 tltfirtthtm /o 6e{lft•t• ltARJ"f11ould hfr,rbl te.acluhmr At lr~tp bo,w tbl) IJ'II~ bt {ttmt \ .,;u~tP.ttt \ ..;je.. F ,r 1hl '1Jc)Dl! 1 will foi't 1n1!J t hHJ m'Mch; tbt.rt b:lllh not,,, bttnl of tbil fojhitm, w&icblf tha, jh11l1 pro.n~>u,. rt to bt b*l'Wirtb·tb:, btAt"Hit,J rtfl fJfifjitJ) if "'tlb.Jtit~tor. P•rewell~ . Leaftanie n.tan fi1ouldfeen1e to acctlfc tne.oflingularitit for expref~ fing thetimeo( myfong~s. by prlcke ... fong Neres neuer b~reto... fore vfe·d :. Ihaueforhis ~euer innruction hcr~un~o indeuoored to fatiffie him.

& f Minnum~t r A Scmlbrcofe, Chrocbe:r,Q!!:&IItr. -- 79 Figure 8 -.

-----

I :..::l Jl A Table of all the Songs contain~d in thit

0 ~u

Figure 9

------~

VLT/MfiM fl IILE, \virh a triplicity ofMuficke, \ W HEREOF lbt firfl p~trt ir (or t~t Llltt J tbt .I Vo , yc~, and the V•olc Deg1mbo. The Jcflt ;,/,.lbt L•tt. tfH Yl#lt, 2.J/IMrt p1ne1 to fine. The third p.art is foe twoTtc:bl~t. to1fint: ~ it hc, 10 lbt!Ar. n- rhll" 1~ •r t.- • "b,f ..,"'"/~. Compofed byR o• • .. T lo,. ••· .fl..... fr1f•1Ji•J~, ,.~,. ;.,4111,. Priorcd It london br r~ }, , ..i . JII,iWd ~re robcfoJd l)yS " """ " , '" p,..fn (.lw J,, ;b.t s,J.-« ttfi/N C#01•1 I 6 G l •

\ 81 Figure 10

' r;:"~I.W'~-' ~~~· ·~- · ~· • •

TO THE GREAT lOY AND HOP£ OF PCZ(ESB~Tuf ~J> rU'TUf{F.: Times, H E. N R ~ ,E Pri nee oflf/ a! cr ,Duke Cl~r41.:w.,t1.. ElJieoflhc CIJjtJ,irf•i•tiftt'fchtjltr,. Kn i g ht ~fthdiDIN ribko,Je:nf dl G4rUr, Hcyu App r.ant 10 tht" Rcllmcs of Elrjuntl, Scotbnd, France and JrdoJ nd

Ojl Exr:elknt Prince, T !Jr: flrengtb ofour d"rt, (]'/hou/J ay,thr.rPuaf(:ncs>) cannot endure tbc force of Soueraigne erltlC£Of1tcncarcit,wema:y, tU ncarc ,u to you, your £arcJ TPillyet_ be arc to deale wuhfottndes , tbougb nor to dwcU there ,.yet to pajfe by tbcm,,1nd by t/;eJiJ to learn to tune Jenjcs l!J a nper a~c. c-A lmo/! all attr k[}'JlPicdge ir drallme through the ftnfir,tbey arc the Saulct}ntclligencfrf ,-wbcrc/iy (he paffith into tbc -world, a11J theTPorld into bcr,ttnd tJntang/l ali ~(than )there is none fo learned__, a1 tare~ the none hatbobtainedfa cxccllr.:nt tJJJ ufrtJjodelicate1[a' ab/lrufe'? fo p_iritua/J, thAt itCIJtChf!tb rup TPifde fo .undet in tbe J/itt, a,nd brin~~J t//k 'Under tJ goucrtJC1fttnt ntJt to he expreffi,1'>but done> and done by no s!Qll buf it ot:Pn~.. Thereu Mufic-k; in all thin;ret,bttt ettery tnan cannotfinde i t .Ot4t) ilt&AJJje.ofbilo~neurri11g,he.e MJlft baue 4 harmo1J_J in hiinftl[e.)hat }hold goe-a.bout it,and then bt uin~ good way ,111 be that h ,t~th agwti ~art:/J in d oudfo't1llardtUJ to our focultit:. [ onceitc ubut aTPtll tundejat~ry ,done in tinu ~pLsce .. ~~~ ex(;elle:ztfintencr:;il hut a TPell lHn~e rea(vn Dell {nit lt.gethtr,.P oll:te or the fubt.efl therof,a [omit..1on 'IJ1ellltb.u6utll 'lite /I tu.ul. · 'e Song T~htr~-allr41'ltl Joettgrec, ana lnccte together;~ith foil C011ftneanti lJartiJOn.J oneJertung other,and cuery ont rhemfeltlet in thtJam~ lAbour. 'Butnol'P]' intrude,intoJ.Oilr .llrt,in whicb 411 pnry(anJ ftc hoper)thal q oJ ~iffgiucyou a .oJ/y aru/profpetOI~S k!_Jo'IIJfedge, anJ t/)en aJ/ orhtr eJ} rtCS foal profP£r"''nder it. Ourgr acious S tll7aigt7(Tour H~h11ei dear Fat/Jcr) .' ' hath ar11trd atul con{ortedjomcgreat prOfi{fiolH a/reaJy~ fi~eh1ittleoneJ dJ this )oo efo r it>and heg il cfw OJ4,y our pri nccb nature promi[eth it, J hich m4 es nv. boJJnet bopefor p4r on; '?

Roa&&.T

lo N 's 82 Figure 11

- , ~ H c ldndc A pplauf~ \vhere,vith I hau~ been~ re\vardc:d ':in n1y former A yrcs, hr fuch Gcndemen as can iudg~, ~~~mJ' I· b, ·. Y. the .e .•a . re,~ an: not other 1n~ns Echo~s. ;hath no\v du. s ~ .. . · durd t1me gmcn n1e heart fron1 then\ to hope for the like i.n tbcfe \V hich l hauc corn ofed, cuen to {hew n1y graticude ro\varcles them,. I lulO\\' eucry Father' is paniall ouer the i ue ofhis body)and hauing his iudge1nentc.orrupced by Insaffecti.-. on,is \VOn[ rofp e~ J e: bis Chtldrens prayfes,accordingto hiso\vn de ... fires, rather the i1 I he i'r de f~r ts. 1t tna y bcJ h aue thuS oucrlookc:d this iffue ofn~~ br3iue, wher.efore'.l wiU onely comm~nd my. pur_pofc.e,to ntakc tlus lail my bdt, expc:chng; to rea.de the rruchof my fdfe out of t.hy reporc. AnJ beca.ufe! ant notignorancenough)to b ~egroffely taxed by any of our cunningJvlaiJlers, nor bigg,e enou&h to befla.r., t e ~ed or c nu yed, 1 hope I 01a1J not be driuen toe nq utre out my en~ 1 ·es) co hea.re of n1y fa~cs, nor to befpeake myl rien des~uour .. F.o,r ho1rvloeuer l an1 fe t in an vndetfortune, thac hath need of&icndlhip, y~cit n1y \Vorl e~cannot 1ufiifie n1e,rny worde.s Htalluot,l bad rather dye a be. g r1 tbcn Jiue a boa{ler: what skill,time,and mycont.inuall radifehath biucnme)hcre I gladly impantocuery wel... wiUer,t lat gr(tuntcs me buc acc~tanae for my paines. And fa I comn1it my ic!fe to thy cenfus:e1 F are\vcJI. ·

7.\ohertloner. 83 Figure 12

A TABLE CONT AI- ning all the Songs in rhis BooK E.

1 ooenot,O do not prize thy be11utie. 2 · 73ea utic fote bathing hy aj pri ng. ~ CjoctobedfrJJcct6lvluzc>tak! thyrcjl .. 4Shalil loakt&oe#nogriifc. 5 ~Pbar1jJfpcd1t1her t 1leafl cxpeEled. 6 Sl"peetcijyoulik! and lotte 1ne fli/J. 7 Setifetrot!.hledr.houghtJtofgh. 8 Scinrhia~cene ojSeas and Lands. 9 r:B la111enot tn) chee I. ( · 1:! l o There is a qardci1 in hc1 for:c. 11 S1r:eete Loue my one/y Trcafr4re, u. ~hinkft thou 1\_ate to put me doUJne. I) Jf/hen willtltfounraineojmy tea res bedrye .. J+F lye ji-o11J tbe TParld. \ \ 11 Happy he botofr» etebomc retirdc. -Thc:fc following are for z. T ' r~blcs. l61Jiftlaine thntjoll &hJilf,ne. 7 · o) '/et/)erchang.eand'jjttre not. I8Sir;ctiuftJijJAineh 1~to ri t ., 19 ,cuftler ry hand,s lo vh ue lgrt~ceintreatetl. ~o Oft haut fm"{Je the cartfe to ftn e. l.l :J\(o .hAuefleamd-mithmuch 4doot~tfpjl . B 84 Figure 13

,

..

ORTHE FOVRTHBOO· ICE.OF A Y R .E s, The Firlt partisfor tbe Lute, £\VO Voyce s, and the Viole de G ambo; The Second part it for tbe ~&tte ,ebe Viole and joure V oices to Sing: The 7' bird par& ,. is for one Voycealon~, ono ~h e Lu·e, the" ll:afTe Viole,ot to bach if you pleaf~, VYI,rrtoj~ t"'Alo .ut lt.zli.tn AJrtt. ·

CompufcJ by R o • l ~ T 1 a " • s, \ . \ !2.f!! tr'.font (int,"IJ, J'1fJJ·il4 iMMJifl.

L o " P n w lrnplintedbyloH.N WI~ D ,T, and.aretobcColdcbv St\CO-rt w ... TE.lSO lol inPowlcs ChM"h·]tlfd)•tlhl SlJ"t ,j:lit Cfll~''"· l 'o 9• > --- 85 Figure 14

1\.: ' ' - ~~ TOTHERIGHT ----- YV 0 R·S HIP F V L L AN D VV 0 R-- thy Gc:ndcn1.nn. Sir I o H N ~ E v r N T u o u. r £ K.nigbc: pcrpt.'lll3ll liafpinrffe and [or~tcrlt ..

~...... ,~,)1-l...£;.--'- -,- ..f'·ts not vnknc,vne "=nco your wcl deft ruing fdfe, . 0 R igh~ V Vorfhipfull, that not long fince 1cooke n-1y V~ti'l'tttm )a[t, \vith a refoluing in my ldft.. ,. lH!t,er co pu.t llfh aoy \VOdc~s"of che f.1mC: Natllre and Fan, ion, \VJlereupon) betooke n1e co the eafe of n1y PJI.Io\v. ·where SompUI -auing taken poffehionof.myeyes,and u 1orphttlf the charge of my feofes; it happe.nrd ~~{~..,....~M·~~~• rnee to fall into aM uftcal dreame, wherein J•dl · nc~d - to haue many opinions and extrauagant hun1ors Lf di uers Natures and Condttions,fome of rnode!t m.trth ,fame of amarc ll"S Louc:, ~nd {orne of mofi diuine contemplacion; all (hefe I hope 1 fl1all not g\ue any dtilafie to the earer,or d nd,e to the mind, eyther in their words,. or in their r~~ ueraUfounds,alchough it is not nec~ffarie co relate or diuulge all Drean1es or PhanrafiesthatOpinioo hegcrsin lleepc.,or happeneth to the n1indes appar•[i ... on. And continuing long in ch is my dreaming humber, I btgan to a\vake, anJ vp n my eyes v ndofin~, l bethought n1 y fclte, being full a \Va k~d, a.Ju itlng ! n my n1ind, \V hom~ to dec1 and chute as .a Patrone for the lan1~, l \Vas eafily in .. -u:ed to n1,1J~e choice of yqur V . orO:~i p , a3 one to \V hom~ I necelfarily ou ;ht \ I ' . both lou~ and du ety ,l nJ howfocuer l m1ght feare that you \Vil not .ad\:,&0\\' .. ledge it, yec in th:lt Nature ha th inricheJ you \Yith more chen ord1nlrie know ... le oe in t h ;~ Art~ be~inga \Vi nt:softhat Lo~t ~ \V'bich you haue ahvaycsl ffor ... ded to Mufick >I en1boldened my fel fe the rather ro pre(ent it vntu ycu. Accept itthen(good Sir) as a T oken of vnfained Loue,and a e.be worthily Jue ynto ·you for your many fauours done to him [hat is

uft)·our lf/or/hiju conJmaund .. 86

figure 15

Thi~ Greetin ~· •• ~~~~ Hou,l:Phofo dare itcbeJ ltJith the V.Jrietie of opinio.n, h~aring thinr o»me {ot.lJd,tJf t/Jc ecchqc n:uerbcrtJ~ ing o'tfJeTJ fubflt~nCC, and lmprofit4hfr ~n .it ---- · jtlfe,fhcl'pt s to tbe IVorld comfJrta!Jie li?J/c, though to thy orvne . ~Je bttle ·~~~~pleajurc,L'.J re:tjon of)lnch.-u·ir.,bl~ctn[ure. I fpc zlte tot bee mujirall Mo .... tuus,thotlji·cm ruboft Jucctie ,IUimhcrr ~1 J raji/y pa.f!e,J.J drop1 foil in tbc jhonre} Dt4l \)ithlrjfiprofiu.fcomprut·thcetothqhlt nuy Jr4/l tbatjlitr int0 11UJUCJ'Cf, and ltJill twt tbcncertJithout much troubli) /or tbuu rn t/JJ J,fper[e,l iu:lgemeilt> not one& art afo jen{iru tofecing k'Jonde~~c, hut moj} fo ttlty f; !/ct od .. jcruing i~Jd&tflr],f'; L"~~>'g 1110:zte r ctU of the: 111oilpurt Bilfo,.audJmoothiu~ tbt~ pl.zt:nc/l "'Citttl ~ rvben on ely thine on~ ne opt .... 11itbott ralbcrjo;·lcfl theti iiMI(!/ pe•je(} 41:VWl{)'. I ha~1e jlooJ atthi11c e lho1 "P Jandh ~arJ tbcl.' prop~Jtne cu r a 1 \dl'.fit {c1 bcfl J(ryu ,and 1tJ.ith thy l;ntu,~zde ref... ,/1/b Jot f~rde ~J! r;fl ;gnoh iy. l 4 J1l andjc:tt,}rall ayrc s, 6reathll)~ !Jarmonio111 ll'ilijperitJgt, tbongh to thee difcordl;·et toolbcrs indffiren t, 1rvill not {ttY cxc,ellel~(~ , bec,H!fe it is 4/J othen otflce 110ttni1u ,,6ru let tbcm6~ as tht:Y art,o~l·cn propuu tul my p~ . inct _, (rt forth j ar pleafurc>uot for pw1HJ.Ic~l poJ{ou: Jiu{cfl itntrginatioiJ,IJO, but aJa fho"rPrcjt~llitiJ! \ i.1 :~u rcdfuil ft~fou,J~ 7j!Jt Ur m f·lj'e atlrajl,aJJd wrl/(ay fo et4er bY. au} otb,·rj l'Phofe I.J bourfh.J!I vf!J(t Alujt~udl uuulu~ztt .-~ .,Jbe r:meiy rPiug fJ/ IrJ'e courage ,being tl1e mofl pltttfo~~ 1luice ~(11~.: '1) n·ho{tjn·ee:t~,r c J t t11chcr h 1m to hcaiH'IJ itfelf~ .Jtir Jjara if a/ thi r p.ztt.1cs: rc.;pt n?tgood romm~nd.J ti~Jni ,a nd it.lf t~, ,ttr Ulrtl ll;: out of 11 Flint itJ the toll {ith l hou ntHer rl ink(I u ell of di1J 1 Jn ~ rlJ • (rt in tb.) /f/jt:{o v nri(.Jifi,/1 encr ,aJ ll!J Tt~torjra nJ tbr I ~ Jll.'ol ·rc fotdtlneuct Jnn {,. rbcc /1~1~ it~ irune; be 4Jthott art a h1mp of Jc(onnity lll:b m:I Jjh:on,brcldt' i11 tbe U;fvdr &i diAI~ ir~e, nd 6rontht forth b1 b~n~ iulr l\1e· g~r :~ ,t ht'ftt .r/1 11/idn :fc to ~til t i nc mn rt f. j i :u·me lc :u" todrp.lrt J·or ifn'd J1Ntbout it J $111 gone:,c .rtltfic o/~ til)· crnfitrilli.fi, ar,;f jJ~IIy p( ~(n .1dcd thuu ca1Jjl110t thiol\.e tl'rl/,,;nd .t/;c,refurcart crufl tiJ thy [raJie, 11 IH'r £0 /1e btu (rttcll,tJntl being 6on1c wit b rce tb irJ tly bc11d,bit# eucry€nJC D47111 ele t j,J tbir orwbat rijeboncfl iudujlry,~n.,xc r th)'' ~111 ego/siptrJo .

fucwdl1f thou wilt in ~in~llclfe.ot hoi~ tl"ly fClf<:.fi:t:>m1inthcr c;u:pmg. 87 Figure 16

\ , \

lee Caldi fo}pit·i, . lO Samor nfltJ ct:~t du119Uc. l~

B 88 Figure 17

------

Or [he tift Bookeof Ayres, onelyfor rhe Lure, che

Bafc: ... vyoll J and the Voyce.

[ompofedb) RoBs R T IoN E s.. QE;e profontjingula, m,dta i•mant.

__ _...... ______.__ ·~-· -· ·--- -

\ .

.L 0 N DC rrintcd hy tl•c Af:.igur~ ol ~~. {Jij0ilfm 'lJdr ley. t 6 1 o. I 89

I Figure 18

TO THE TRVE HONOVRABLE, ' . AND ESTEEM ED VVOR THIE, THE '1\. f q H T If' 0 7\ S H I P F V L L r If.E LAVY vv R 0 T ll..

~~~~~~On Honoured Lady, m.y ddcfl: anJ firft iiTuc, , hautngthr(u'd fo ,~·dl vnder the protec1ion of your Right Honourable Facher, blame not this my yon­ gell and h1tl: Babe, if it dcfiroul1y fecke &nctit~ric ~ with your fdfe .. as being a mo£1 \vonhy branch frotn . fo Noble and reno,v1ned a flocke: It is here. uarie tc I :.a - your whole houfc, no.ton ly to be trudy Honoura7 bl~ i o your fe lues,h ut to be the fa uou rers and fu rd1ercrs ofall hone 0: and \'crtuous end~uour£ in others. And [hJt n1akes n1e fo farr~ daring,as ro prefunle to offer rhis o~dicadon to your fJire acceptlOCP-; AnJ ho,vfoe ... uermy defeCts therein may happily (or rather v:1happtl y) be n1any: '{ ~t an1 I moficonfiJent(and tl1atgro w~s fion1 tbe worthinefleofyourowne nat ure) that your 1-Ionourable minde \·viii he plea fed (fince it cg s ;cfc lfc moll humbly in your annes) to giue it \villin~ eqtcnain~ment, and to \ countenance it \Vith the fairc: .Liuca ie ofyour nobl~ Name, It may bee flighted in ref peel: of its o'vne vale,v , bur your f.1uourable acceptance, wil~ bot~ grace it, an.dmy fdfe .. a~ a poore Table hung vp, euen tn Pnnces G lJonc:s, ndt for lhe VVoo ~hut for the Ptdurc; And fo (Noble ~ad y) not d~ring to bee .ir~Ious ofyour rlonourable entercaine .. menc, I rcll

. - I 'our LaJyjhip Jellcted in all dutit,

I RonERT I o N£s. 90 Figure 19

-----

~ )~To the friendly Cenfurcrs ..

- Eart jriend1, for fi I ~sJI!you, ~(you plt•tJ(e to acctpt my 7ood lllttJning. i prefented yot' l~fl r»uh a Vreame, i1j · wbich 1 doubt not }ttt }Ottr j.J,Jta(ies htJ.ue rece.uud fame rcafot,a6/e contentment .. and now !f J'O~t pleaje to lee 1l"9af:.!d ortt of that VreiJJne, f jhaU for your rerre"" ;JIJ:OIJ .1.nd rcfi £(bing ,guide you to tbe_1v( v .s ~ s G A u.. ~

~=-o;~..-;;;;;o~~...... o EN, ,"Pberrytu (halljindj,~cb'Vtt rittie· of Jelighn, tiJ.t' quc-ihunltf/eJ·on n ill wi!litt:~!Jj}cnd fome time in the vien; t' rrtof. 1n )'Ot~r {1j/entr411Ce into -which Cjardt·n) yotl jh,JIJ mtett ~ith Lout, 1 CJr r, and li6tl6ht bHt: L4Jur #frt foortb at lt~rge i11 biJ colourr,by JFay ofde.cypht,. t in6 bim in hit 11 ~1turt!_~ . ln the midfl ofzt, yat4 fbaU find Lcmt rciefleJ)vpon t~"rL;nf!.u~cie ,1nd b.1rd mtajuteoj-ingrt~titude: T r;uching them that ar~lourrt >I cr.1 tu· tl1em to tltiro1~ne Ctl ~(ure in Lout' I defcripttou. eJ/rul nowfor tht end, it tf )'liJn~.,ble UJ anorbcr ,,~ tur)for tbedcligbt oftht ettrf tnj&tUJjit op •~1io,..1. 14111. nM ft .lr,ogant loco 1mf1Jd mi1te onme gi/tt, neither yetfo Jegtnerate, IU to be-g .)Uto tdl('rartvn. 'fftbejt d hgbtro{Flo'ftl(rt) or)4r.:(tico[Pruitt'Y, ruay,mJ '~ )1 . ~1~Yt J :-t rle _rjtng WJOffr_/(:u}t i, 1jl.a/1 bl' gitJd. Othel TPije J »iiJ )O)) nel.IICr to J~. · t_,fot~>P.l.uu orgraft ,and my ittbourJ butcrflrtb jh111l r.taft to trou61e)·~ ott, iJ }!.Jt41)·illn retlr lniflil:..!, r~-.t ren ot . /will f1etuntyourctnfores:l dcfi~ a111 and your malice, if you dr/}Jfe iht, 1 rifolute 1 ijyou11[e me r~ith rtjfe(l, 1bid.Jou mojl bearti;_,v

R. I. 91 Figure 20

THE ry A11 L E. -- /

I '

~Ouelouc=. · ~ t£1 Soft Cupid fofi. . . . · ~ . Alec 1the: fiUy 6th beg\u1c. 1·.·e lounuhtc:s ~~noake. \o\' =o!kin~ hy t i~ ( Riocr ride. 1 n nnot (..n 1fc but l'iuc: 1 (mile. loy in lhy I·· ( S. How rn~uy New yccrcs luuc grow . ~n nldc. There vv:as <~~ ll lcpt:CoJrd • h:n d~d litH:. The Sea h~!.h 1nany t b o~:L~nd llnd,. O·l·e di·.J tnt thoHgh 5-both cLbc •nd Sow. l . ~m b t~rrt ft om piuyh g th r:c. {h 1!2] lately in a d1 came., There wu. 2 wil y \;,a ddt. My f::~.thtt f.&inc would hluc me: uke. Mv loue harh hc:r trot L ue bc:tr'o11d::: All roy fenC~e thy tweeu n cfl~ g2inc:d. T· t~' C::C de1fe A fpc wnh dyn\a voice:. Ddwld her I d ct like wire~ of.:e.m:n Gold. 1\\lhouw,b d1<: \1\'iogs ufmy ddirc h( dipt. ._,l~ht 1rc;dccun: cnln.: cu on witu mtnc: r.yet.

\

.· 92

I' Figure 21

Robert Iones • XIX. CANTVS

-.~.------, :h:t.l_ . . ·_ ------~, r&:-1==+*~-_+--=--= ...-=- . ·__ - -· ---=-----.. .·- .·--- .-==== - ~----..--- ·-- kt her goc. ------__,._- . rt·-w

• And 00'19' .l'bc rwof'a dit but "hu, N:zy:.n:.y)l moRneoctdlyou An , yri I will lti:s fo (,. 1 A5t «be< tahh.a ~ hen louc:n I'IKG'C. 5trt ~oma~;;oo!, tk, ~ ~ Tatdl y'ou mateilis necdldft.~ I nnnt md c , u hew: by ·the 1ooe, And tbcnlQll ,chis w;u ooJ~ 93

Figure 22

------~------

•sA.t.lV

.: ' ' 11 ::~.' '·l llh1J 11111 lllll r llil ~ I ' ~.:.. ~ I' II II II! I! ,:ttJ t .S . l.& I\ . '. a HIH lf lll' I ~ L~ 'Ill~ l It!!.! g I ... . J1 I . ! lt lll ' vi i i II! .t !, : · ~ ,,,, ~ I I II 'I ll I I

l ' I • l

0 . ·. ' bl

' '1J 1 • i ] _ . ,' ..Q ' , · .a I ··t ;kl ' U I I I

_____.~_=~=-~JI?lW~ wrong, bdc:.cue htr not it wu not fo, I dJd but lilfc her I did b~ L.ilfc bcr .aac~ ·j}·-----._:_..1------:---. -·-. ---.--- - - ~.--.. - ·• - __...... _~...__.---- - ~ ~ ...... ~_._.. - ~'-':-- · ...... --~--~

; ------·------===-======-=-=~--·------4 Figure 23

Rob~ rt lonts, Xlr. CANTVS

~ F 1 r ~ l ~ - .~ ~ - P r <1 ,J .c r •" ~ ~ r t r- r n t "b c- .- .c - , , · ("~-·~ . ~ .. (" - ~ ").""7-:47-~-:; ~ ~ .& --_- _-{--- -_- ·-~§C-~--"- --~ --.. -_ ---~-L- -:(- ~--~L- -- ~-·- - -- .. -~.. -_- - _E -~·-- f' -=---~~ = ·" (" - - - -77-::?_-C"_ ""- t' ,;_ ..c (' t2. - -= ---~--"'-- -- ·~·-· ------( - i:I:t~_:;±!t_~~£ltr=t=~~~=·u·==---= ::n~::t=-==t=-=:!xtpt!_ tt=l= l --~=t---=-...t-x~.:-E~ =:...:------_ go there be many mo I fcl.tC nor ,why then let her goe 1 care DO[.

---·------

l ... Far--cwt U,fJrewdl,l'incc: d1ls 1 finde i:t llllt, Once moce flrewcll , t ~lorn rodc rr.wrct 1 will not fpC'od more nme in wooing you: Bids o.& adc:w to her due holdcs Ill}' b.m:: \ w fcd'h~ ' k>of~, \ nul I ... iH {cc\e d \ htre., But r mnR lfl m:ivfindhctthcrc, 7'hy loucwbi h ldid chufc:: S: 1=-ll l bid hct goc. Go rhy waies for 111t,_ \Vh1~ and rl.l Jocf s·ncc irmay nOt k, Sh~lbid her go :and fparc no t, Gothywaiesfor me,.hucwhithcr? tl!l oo oo no I date noc Go,oh bur.whcrcl may come lhitber. J r Ten Lhoufand imes f1rcwcll ;yet fl2y 'I .,hilt, Wh~cCh ;~D I doe~ my laue is novvdqnr "d, Swca kilfe me onceJ ..... t t ltdfcs limcbcgui\c: Sh cc.insra · ~ .. .-:a: :'-..:c iscruc:Uhart d: h:~ ue no pow ~ r l o mouc ,. 1 l Sh c.c would nor be intrc-attd, oft .~~ How oow 1<2:m 1i o laue! Wirh pnicrs - W ilr d10u ne.c ·be gone/ J n.eccomc no more. Go then. all is one,. Shall I die ther(forc, \'Viit thou nee d.\ be gonc?oh hi~ thee, H tb~e come: no mor:, what c~rc II' N:ay, 01y ~nd doc no lno&e dcwcmec. Faith,lctbc:r go, or c-o.we, oa: 95 Figure 24

.. ---· ... --.... __...,.___.--.. ~ . -- ... .. ~

.I - -....-__...... -----~ ...... ------...,_._....-...... ~-~~ ...... _ _...... ______.._'-__ .... -..... -- ~~--~ ____,.._...... ,_ - · ~-_....----.----· ------.--.-.111··-__...._- ___..... __. ______,____ · ~------~-- ~-- ~...,_._~_.._..._.---- __·--- _

\

~ ._.....~-----~- - ~- · ------...... ------96 Figure 25

204 SONG

CoMI'OS'-'U uv ·noLn.. nT Jor-o J:s.

~ . . . - I . · ·'luoted by Shak•Hi}U~are - ~~~~ ho·m tht: 1": Hnukpul1,lliOI. ·.~ . h-51 Jggff==r. · r~: Fate- ~ wtdl (l~arl" lo\'e since thou wilt needs he gem~. ... -=-t .· g-one,

lu\'C 111inn~ thnn wile IH:'''ls lu: ,!;()UC, J J loft> since thou "rilt nteds · lu!·

: 1Jp4 J =-&=i·-----:-· -,r~--t-11---+-·r=~- r=----·J.._._tJ;J I'P#@g , . · Jni.ne . t!tc.s tloe tth~w .. my . . life i"' almost done. y ·t I WlH :--.. .. ~fL:SI==r=f=l±a ;;f;l-=t~ - r min~ eie doe _ 11.hew n•y· lite · is almost douc. yet· J wilt r±H· ~ ~ff my . lil'c i!J yc.·t ' . I will

I· r--d E4 m y life ia almost yet 1 will . . (. -~ . ~,__~ ·--==--==t~- ~~± ne. Vt"r die, . HO lni1J{ .;,t. I ran t.pit 1lu·n· l)l'-,, trHlll)' 1 .~-. Jl ==q=..T-=,_:==~-.·- ~T,~ - 11';~~----e= - :=r=-:=ct . ~ · - r--==EF~----=..:I -~-===+=FL0 - ·:FJ=.=Z=!.c::~~ ···- :- - n-=- wer dit~. ..., lon~ as I ' t"aU 51lio tlu.-n· ltl' ,,.,,ny nm

~MIEF F i t~§ E 't?r 'l I c=·® .~-~~~~- D" • v~r dit!. •n 'ou.g a~ Ci\R hllie thn c 1-.t· uuuy , inu a:~ t?==t;~~ r _ q~~~ -=-~ ~ ! =

lllt'! - \'t"r' tlic ~ ~0 long lUI I I can !illh! t1wr"' ht· Ut; my UIU 97 Figure 26

'LO.) J' t W=- -- ~4-~ 1110 · thoughtlmt 5heeclr.e go· -there he rnan" u1.u I If~ - ~· rt I Ib P c ~ -.B - j- -k%:=tJ4--t==fi=4D_ 'I thouKb that Hbec llo e Je:o, fhuc be nuny mo not.

. -

! J L 0 : IJ :_

not 1 _why tlnm let laer gne 1 cnr-r. "lOt e E&--e - ~ - 1 r .- ?!'~ 1- :l{g care not "J JJ?i I 11«1 :'); 1 ~ar-e not ., - :IIi , 0 uot .. ~·by th~n let her gne I care nut '1 4- ·. • '~ F;~n•well, ffltt•,wl1 ,sint·.. tlll 'i I rt11d8 slw~ f()rn.e ~ \Vilt. tbon be gone?· If nq more · · .. ~ ... Go then) all i~ on•, . Shnll I ·11~ th.toreforf' 'I Wilt thnn .:u·N)~ bt> gont•?oh hie the4'l, lrsh6!e come no mor~ "'bat,wh9t c• r · e ! I~~ ,- N:\y, ~tay oUHt lint.• 11U lnon• th·uh• lll~···. 1FHifh.)rt ht:r gn,or l'omf',or tarry. '

/ ' 98 Figure 27

CANT VS. vI I I. r\.CDERT loNE~ == t::t:f=y-=-t-===~=~ !~±::i::+==-- -=·i--=rr~ ::-t:=-r~==t-=t=:; W: .§~~ = .: ::- =::i.· .=cl:t=c::L =~-t="'-::: -:::·r. ----=i_: ..-- ~ ~-- --·-- ·-- --·------·-----l- --·----·- ---· ·--- -··-

Clut no\'!' I ph.inr.ly Cu how chou wouldftbinclc~ucau:/urc l ~a~ .t c1.1rll, not to gofat•u a 1 r 1 l 1 l r l l· r ~ ! ! r i r ---...~- --.n,._± ______.~ -""--J ·- ~ s.... L -..d.::-::-r-->lt---- . .J'!. LL---- J ___c., _ "------.j!!.- ~-:n"1l... ~...... 1.~.(_ _ "'i'l_:::il.,_, t_ . ~----:n...t_L- """-----_[...c.______. -+.~~ ,...1. --L-.. :p___ -L-. -~-- L£ ____ _~:.- ____ j__ .. __ .l. - · ~-- . ~~- ..l. :!...--1 __j______(..__ l ~..10!._+ -~--"------.- i - -- - - · - · ------___ _ I _ __ -- · ~-~ . ----- .!::..-'... 4l_ __ .&,.JL.t!,__ --- --'!---~----P-.1.---~· 3 ....__ ..c__...l_"';J_ _r__.-

fuct 1 wls,;;,cnrfiO Jic fi~ no.fwtctt lhy & 1 w11i leU thee why noaf,uc 1 wu ace urn JJol •to goc oat • t f t ! 1 ~ l· t r 1 1 t i ----· -.l"~ .a--....__ _ __ ,St_t;..:::Li!.-.3.------~(~ ...,"'l -~- --!1. ~-..d- ..a.. ..a...L _ .... __ _.., ______J.....t.;:l. ;a..._ .J!.,A...i~-...11'- --~-·(!_---+:7J...k.~- -.!:: -...! [ .A--- --'--- __ l>_ _ ~-'1 ----l · ::!l, _ ____ i-----· ·. -----~--L---'--6~ - .- S-.(!. _ .1-h_.k..J?.-'..-· ---- · ~ - L-----.L.

------"'1"1-I-t=-~* -:---..L..-- - -· ~--- t-·-----1---·--~·--- 1--~-· ~------===· ~-·-b-.1.._----·-1---r:--t------t. --·--±- --- ....-!" r-·------:.,~---'f-.-----·' · ---f\·~-- ...... L- .•._- ·- ---- . ----- ·. \'}--- ·-""-- -...1------. ' --~·------~------1·-·1·-·--t- --.J..- -·- -- - . -· --·----~-----­ --- ·----~-~ ...... ------·------...... --~. -~· ------~------· firn.rurc: I w,u l' . rwc.:t ll.l)' .:uu! J will tell thee why no, t ! I t ! l t l·~ 1 l -L--~- - - ·-t· .J\______.n.,c;..:U .~A ---,.S-A----.....-!.--...t'l- -11'.- ·~------·•'-- ·•.----t_. ._ ,,..}...,_~_ ..:1. . ". --- ·-,~ - ':ll. -'...o!...!:...-A--A.Jl ___. ------·-..."t------...k-.. .J!....t' - - -~~ ~--·"------·- -r ~ - ~ ..4.- -'---'--ll· - · - -._~------_ --~ - ,\.~---t- . - ~-- ---J-- -- A- . -"...--'--..'-. ~ _ ~- c. --~--'----'--~------· ------'-____..'-.. _.• _1. --·-:;z._j_-L-,- __· ____------.---_ __---- __...._~~ ~-L------..a.-e ·- ----· --

J ..) Oncr m()td.,rewdl,lincc fiJI\ l :1ord lh,._. lpcak , Wocnne ai~G' c,.,.. h)' diJ ll<'[ b_im soc~ 1\ uJ • 1rl bu1 (ml'.::.IJrc wcll,u• lar.HIWout.! l•rc.:alt(., 1 hdc be: the ~· utccs of uil c fiym ; n•. B• ·t ••o .. · ltn'(' 1 Joe linJ 1hy lou· ~ 1lltk.t 1he -.·io&l , Now tb.:u hec.. o d.fproucluc.h.ow uullhc cuct loucroe, Wl.11 .1 l .... olo..-.u I N.a.y bu t n he gC"nc• T\l llcl-1 cro die. lhcn I am •ndunc. Whlll foolc- 'ln!.l.l ".u aor, Nay lnn i1l1c ~o ne ,O ho\d l.iD"'. Y..:t f,q 1''at .l (oulc J ~~lfc nor. fl,,(c-uy \hing, .l.U ~CCVD' oJcihua 99 Figure 28

I I II 1 1tn 1 II l I I I I II II 111 I I\: I I llI l ·I Tl I ; I • I I 1'll' I I I I I l \. l l I ' • I Ill i { ,' tl \I I 1 I I ll! J I i i I I IL I i I·II II ' \L t I I 1111 II I I \ ; ll ~ l.· II~ I~~ ~. ·t 'I l n. {lI 'I 1.. vi I \It I 1 t I 1 > ' i \ i II II 1 VI \ I I : t 1· l 11I I • V) Ill I .rL ll1 I t I I II tJ < '.d t .a I I l I \ l , i ~. I I } It f .Hi'f' I II I ""tt?.. . I I I . q . ~~ Iii 1· I t I . I ., if t I 1+1'" ' '~ , ..a: ''j ' IHL ~~. I t;hll IIIli I I I

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I ' -70-

If other sacred music by Robert Jones exists 1 it has not come to light. The Reformation did much to improve English

Church music. However, the combined effects of Civil war. supremacy of Puritanism, suppressed church services, disbanded choirs and the destruction of organs and libraries by the B soldiers of the Commonwealth resulted in irretrievable loss.

The hatred of the Puritans for the English Church and its music was so strong they seemed to consider it their duty to root out 9 and destroy every office-book they could find. l·luch music has also been lost because of errors and omissions on the part of scribes, the use of old manuscripts as waste paper and in the binding of new books, and in the practice of sending manuscripts 10 to continental bookbinders. The fact that any sacred rausic by

Jones exists may possibly be attributed to its inclusion in two sources meant for secular use.

What happened to Robert Jones after the theatre difficulties remains a mystery. Loss of records because of fire or carelessness only allows speculation in this area. Since the

English style of string playing was in fashion in Germany, France

8 ~Talker, p.. 56 .

9 F~ Landon Hunphries, The Evolution of Church Music (New York: J . J. Little and company, 1896), p. 94~

10 William Joseph King, The English Anthem from the Early Tu ~or Period t roug!"!_ the Restor_flt.j.. gn Era, diss., Boston University Graduate ~chool , 1962. vol. I and II (Ann Arbor: university Microfilms, International, 1982), p. 12. -71- and Italy, he may have returned to the continent. It is equally possible that he died in any of the plagues which forced the theatres in London to close so often. That his music still exists to be enjoyed may be epitaph enough. 104

Blank Appendix One

Sources of the Husic of Robert Jones

Book/Song Date Source

The First Booke of Songs 1600 British I>luseum or Ayres Folger Shakes~eare Library

The Pirst and Second Boeke 1601 British 111luseum of Songes and Ayres Central Library, Hanchester

Ultimum Vale 1605 Royal College of Music Private ownership Furst Alexander First Set of Madrigals (inc) 1607 British Nuseurn Royal Library, Brussels

A Husicall Dreame 1609 San Marino British 1·lus eurn Euing Library. Glasgow

The Muses Garden for 1610 San Harino Delights

"Hhat if I seeke for love 1600 British Library of thee .. Add. Ms. 15117 The First Book of Songes or Ayres

"There is a garden in her 1605 British Library face .. Egerton ~s. 2971 Ultimum Vale

"Doe not, o doe not prize" 1605 British Library "Beautie sate bathing" 1605 Add. Ms. 24665 11 Goe to bed sweet museu 1605 Giles Earles, his book "Shall I locke to ease taken from Ultimum Vale griefe 11 1605 u 11 \'Jhat if I speed" 1605 II "Cease troubled thoughts" 1605 .. "Scinthia queene of seas and landn 1605 fl "Think'st thou Kate to put rr.e down 11 1605 fl nt1hen will the fountaine of my teares" 1605 .. "F1ie, flie, flie from 1 n the world ' 1605 .. Fy, fy 11 (inc) 1601 The First and Second Boeke of Songes and Ayres

-105- -106-

.. The love of change Folio ms. in Folger hath changed the world 11 ? Library

"What shall I render to the 1614 British Museum, Lord? •• Royal App. 63 The Tears or Lame tations "Let thy salvation be ~Y joy" o f a Sorrowful Soul "Lament, lament, my soul , cry RISM attributes 4 0 cry,. songs to Jones n Sing j oyfull y'• no date Christ Church Music Mss . 56-60

"Arise my thoughts" 1601 Christ Church Husic ~1ss . 439 11 Dreams and imaginations .. 1601 The Second Book of Songes and Ayres uFie what a coyle" 1601 lt "Now what is love" 1601 .. -107-

APPE IDIX THO

Contributors to Manuscripts nu~beren 56 through 60 in Christ Church Oxford.

SEC~~ number CC l·1SS Voice 334 Hus. 56 c 335 Mus. 57 Q 336 Mus. 58 Sx 337 Mus. 59 Ct 338 Mus. 60 T

Bassus lacking; ca. 1620

a alternate sources published b transcribed c Psalm 81 in two versions

Amner, John~ 1579 1641: B. r-1. Oxford, 1613 .

Consider all ye passers by (b) 334:98,35:80,337:86,338:96 , verse

I am for peace {inc) (with different verse section) 334:6,335:6,337~6 , 338:6, verse

Bennet, John: fl.ca. 1600-ca. 1615 .

Great God of Gods 0 God of Gods (a) 334 : 113 , 335:95 , 337:101,338:11, verse

To the almighty Trinity (pt.ll of 0 God of Gods)

Bull , John; ca. 1562-16287 B. H. Oxford, 1586 .

Almighty God, who by the leading (ab) 334:110, 335:92 , 337:98,338 : 108, verse

How joyful ana how glad (inc) {a) 334:48,335:48,337:48,337:48 , verse

Byrd, William; ca. 1542-1623 .

Save me, 0 God, for thy name • s sake (I) 334:10, 335:10, 337:10, 338 : 10 fS

Sing joyfully unto God our strength and Blow the trumpet, parts I and II and Sing we merrily and Blow up the trumpet, parts I and II not in this source from Christ Church (c) -108-

Corkine, William1 fl. 1610.

Praise the Lord, 0 my soul (inc) 334:41 . 335:41,337:41,338:41 f5

Cranford, William; fl. early 17th c.

My sinful soul (inc) 334:138,335:120,336:16,337:126,338:136 , verse

Daman (Damon), William: ca. 1540-1591.

0 heavel]nly God (b) 334:51,335:51,337:51,338:51 f5

East, Michael; ca. 1580-16481 B. M. Oxford, 1606.

Blow up the trumpet Sing we merrily (Pt. II: Take the psalm; PT III: Blov1 up the trumpet) (ab) 334:209,335:202,336:98,337:196,338:214 , verse

Take the Psalm

Ferrabosco, Alfonso, Sr.~ 1543-1588.

0 remember not our old sins (a) 334:141,335:123,336:19,337:129,338:139 f6

Ford, Thomas; ca. 1580-1648.

Miserere, my maker (inc) 334:151v,335:135,336:31,337:141,338:151 f6

Gibbons, Orlando; 1583-1625; Phd. Mus. Oxford, 1622.

See the Word is incarnate (ab) 334:95,335:77,337:83,338:93, verse

Hooper, Edmund; ca. 1553-1621.

Hearken, ye nations (a) 334:211,335:204,336:100,337:198,338:216, verse

Jeffreys, Matthew; fl . ca. 1590; B. M. Oxford, 1593.

If the Lor~ himself (a) 334:148,335:130,336:26,337:136,338:146, verse -109-

Lord, rernerr~er David (a) 334:142, 335:124,336:120,337:130,338:140 f6

My love is crucified (inc) 334:100,335:82,337:88,338:98 fS

Out of the deep (a) 334:146,335:128,336:24,337:134,338:144, verse

Sing we mer:r-il y (II) (a) 334:144,335:126,336:22,337:132,338:142, verse

Jones, Robert; fl. ca. 1600; B.M. Oxford, 1597.

Sing joyfully unto the Lord (inc) 334:12,335:12,337.12,338:12 f5

Lupo, Thomas; fl. 1593-1628 or fl. 1605-c.1660.

For I knowledge my faults Have mercy upOii me (pt II:For I nowledge my faults) (inc) (ab) 334:18,335:18,337:18,338:18 f5

Out of the deep (c) 334:20,335:20,337:20,338:20 £5

Mundy, John; d. 1630; B. M. Oxford, 1586: Phd. Mus., Oxford, 1624.

0 give thanks unto the Lord, for he is gracious (a) 334:16,335:16,337:16,338:16 fS

Mundy, William; ca. 1529-ca. 1591 .

0 Lord, I bow the knees (a) 334:90,335:72,337:78,338:88 f5

Parsons, Robert; (I) d. 1570.

Deliver me from mine enemies (ab) 334:8,335:8,337:8,338:8 f5

Peerson, Martin: ca. 1572-1650; B. M. Oxford; 1613 .

0 Lord, in thee is all my trust (inc) 334:88 , 335:70,337:76,338:86, verse -110-

Philips, Peter: d. ca. 1635.

Bow down thine ear unto my crying (a) Adapted from the motet Cantai mentre 334:217 , 335:210,336:106,337:202 , 338:220 f6

Portman, Richard~ d. ca. 1655 .

Rejoice in the Lord 0 ye righteous (I) (a)334:226 , verse

Ravenscroft, Thomas; ca. 1590-ca. 1633.

0 let me hear thy loving kindness (a) 334:31,335:31,337 : 31,337:31, verse

0 woeful ruins (a) pt II and pt III, Those sacred walls and 0 how these graceful piles not in 334-338 334:40,335:40,337:40,338:40 f5

Simmes, William; fl. ca. 1600.

Awake (Away (a)) fond thoughts 334:157,335:142,336:38,337:148,338:158 , verse 6

Rise, 0 my soul (pt II and pt III, And thou, my soul, To theee, o Jesu) (a) 334:28,335:28 , 337:28,338:28, verse And thou, my soul To thee, o Jesu

Stubbs, Simon; fl. ca. 1600 .

Father of love (a) 334:86,335:68 , 337:74 , 338:84 f5

Tye, Christopher; ca. 1500-ca. 1573; Phd. Mus, Oxford from Cambridge, 1545

Christ is risen Christ is rising again (pt II: Christ is risen) (inc) 334:225,335:218,336:114,337:212,338:230 f6

I lift my heart to thee (ab) 334:92,335:74,337:80,338:90 f5 -111-

Ward, John: fl. early 17th c.

Down, caittiff wretch (a) (pt II: Prayer is an enciless chain) 334:24 & 26,335:24 & 26,337:24 & 26,338:24 & 26, verse

How long wilt thou forget me (a) 334:22,335:22,337:22,338:22 f5

Let God arise (a) 334:116,335:98,337:104,338:114, verse

Praise the Lord,O my soul, a Lord my God (a) 334:219,335:212,336:108,337:206,338:224, verse

This is a joyful day (a) 334:133,335:52,336:52,337:52,338:52, verse

~~larwick (Warrick, Warrocke), Thomas; d. 1660.

0 God of my salvation (a} 334:9 , 335:9,337:9,338:9 £5

Weelkes, Thornas1 ?-1623; B. M., Oxford, 1602.

Alleluia, I heard a voice (ab) 334:14,335:14,337:14,338:14 £5

Gloria in excelsis Deo, Sing my soul to God (ab) 334:155,335:140,336:36 , 337:142,338:156 £6

Hosanna to the Son of David (ab) 334:214,335:207,336:103,337:201,338:219 f6

Lord, to thee I make my moan (ab) 334:102,335:84,337:90,338:100 £5

0 Johnathan, woe is me (ab) 334.151v,335:134,336;30,337:140v,338:150 f6

0 my son Absolom (I) (ab) When David heard that Absolom (ab) (~t II: 0 my son Absalor.1) 334:150,335:132,336:28,337:138,338:148 £6 -112-

Wilkinson, William? Thomas?

Hear my prayer, 0 Lord, and with thine ears (a) 334:104,335:86,337:93,338:103, verse

Preserve me, o Lord (a) 334:4,335:4 , 337:4,338:4, verse

Put me not to rebuke (a) 334:106,335:88,337:94,338:107, verse

Compiled from:

Nan Cooke Carpenter, Music in the Medieval and Renaissance Universities.

Ralph T. Daniel and Peter Le Huray, compilers, The Source of English Church Music, 1549-1660, part I and II.

C. F. Abdy Williams, A Short Historical Account of the Degrees in Music at Oxford and Cambridge. -113-

Appendix Three

Graduates of Oxford

Doctors Date

Robert Fairfax 1511 John Gwyneth 1531 John Merbecke 1550 John Shepeard 1594 Robert Stevenson 1596 Orlando Gibbons 1622 Nathaniel Giles 1622 John Hunday 1624 Christopher Tye 1548 John Bull 1592

Tye and Bull were incorporated as Doctors of Music from Cambridge.

Bachelors tathaniel Giles 1585 John Bull 15B6 John :t-1unday 1586 Thomas Morley 1588 John Dowland 1588 Giles Farnaby 1596 Edward Gibbons 1592 George Waterhouse 1592 Arthur Cocke 1593 Francis Pilkington 1595 Robert Jones 1597 Thomas \"leelkes 1602 Thomas Tomkins 1607 Richard Deering 1612 -114-

Ap~endix Four

Oxford Treatises

Author Date Title

Robert Grossteste ca. 1175-1253 De artibus liberalibus

Robert Kilwardly d. 127 9 De ortu et divisione philosophiae

Roger Bacon ca. 1214 94 Opus majus and opus tertium

Bartholomaeus Anglicus ca. 1230 De probrietatibus rerum

Walter Odington ca. 1330 De speculatione musice

Simon Tunstede 1351 Quatuor principalia musicae

John Hanboys Surnma super musicam continuam et discretam

John Hothby ca. 1450 Regulae super proportionem De cantu figurate Regulae super contrapuncturn Caliopea legale

William Bathe 1584 A Briefe Introduction to the True Arte of Music 1600 A Briefe Introduction to the Skill of Song

John Case (attr) 1586 The Praise of Musicke 1588 Apoligia musices tam vocalis quam instrumentalis et mixtae

William Barley 1596 The Pathway

Thomas Morley 1597 A Plaine and Easie Introduction to fvlusicke -115-

Appendix Five

Baccalaureus in musica solvet:

Imprimis pro cumulatione presentatis vj s viij d Pro comrnuniis vj d Pro scriba universitatis xij d Pro circuita xij d Pro camera iiij d Pro curnulatione sex annorum i j s Pro anno instante xij d Pro horolog-io ij d Pro deric[t]o universitatis ij d Pro inferiore bedello artiurn vj d

xiij s iiij d

Si beneficiatus vel patrimoniatus vij s iiij d fuerit solvet pro vino

Si non praebat convivia solvet ix d betiellis facultatis suae pro prandio 116

Appendix Six

Words set by Jones for Leighton

Let thy salvation be my joy

Let thy salvation be my joy , Confirm me with the spirit of grace , Let sadness not my soul annoy , For pensive thoughts too much take place, 0 let my comfort still reside, In Christ who for my sin hath died.

In setting the third line, Jones uses sixteenth notes on the word "spirit 11 to compensate for the extra syllable.

What shall I render to the Lord

What shall I render to the Lord, For all his blessings poured on me. My heart and soul with one accord Shall laud and praise thy majesty All praises do from thee desend Blest be thy name world without end

Lament my soul , cry , cry , o cry

Lament my soul, cry, cry , o cry. Swe et Jesus, pity, pity , me. Help, help, help, help, for sin I die. Sweet Christ, come ease my misery . BIBLIOGRAPHY

Primary Sources

The Bible: That is the Holy Scriptures contained in the Old and Newe Testament. London : Deputies of Chrlstopher Barker, Printer to the Queenes most excellent Maiestie, 1596.

Book o f Common Prayer and Administration o f the Sacraments and Other Rites and Ceremonies of the Chur:chof England W'i"Sh the Psalter or Psalms of David. Printed by Thomas and John Buch Printers to University of Canbridge, 1629.

Fellowes , Edmund H., ed. The English Madrigalists. val . 35A. Revised edition edited by Thurston Dart. London: Stainer and Bell, 1960. The First Set of Mad_ri a_l s, 1607 by Robert Jones ..

The English Madri al School . val . 32 .. London:-stainer and Bell, 1923. The Triumphs of Oriana to 5. and 6. voices, Compose - y D1vers several Authors, published by Thomas Mor ley , 1601 .

Jergens, Elise Bickford. English Song 1 600-1 67 5 . Part I : British Library Manuscri ts. London: Pu ·- 1sh1ng, Inc .. , 1986.

Leighton, Sir William. Th e Teares or Lamentaciones o f a Sorrowful! Soule. London: W2 1arn Stansby, 1614 ..

. The Teares or Lamentations of a ----Sorrowful Soul. Transcr1bed and edited by Cecil Hill. Vol. ll: Early English Church Music .. London: Stainer and Bell, 1970 ..

Morley, Thomas. A Plaine and Easie Introdction to Practical Music. Edited by R. Alec Harmon. New York: W.W. Norton and Co. , 1952 .

Smith, John Stafford. Musica Antigua. London: Preston, 1812.

Sternfie1d, F.W. , gen. ed. English Lute Songs, 1597-1632 , A Co l lect ~on o Facs imiDelReprints. ress , t ., Vol .. 7: edited by David Greer. The First Boeke of Songes or Ayres , 1600 by Robert Jones . The Second Booke of Songs and Ayres, 1601 by Rober ones . t1mum Vale , 1605 by Robert Jones .. A Musicall Dreame, 1609 by Robert Jones. The Muses Gardln for Delights, 1610 by Robert Jones . -118-

Books and Articles

Abraham, Gerald, ed. New Oxford History of Nusic, vol IV, uThe Age of Humanism 1540-1630, 11 London: Oxford UP, 1968: 3rd impression 1974.

Adams, Joseph Quincy, 11 A New Song by Robert Jones .. •• Modern Language Quarterly I (March 1940): 45-48 ..

Adler, Kurt. The Art of Accompanying and Coaching. Min­ neapolis: The University of Minnesota Press, 1965.

Ark\·Jright, G.E. P. Catalogue of Music in the Library of Christ Church Oxford. London: Oxford UP, 1915, ed. 1971.

Bateson, f.W., ed. The Cambridge Bibliography of English Lit­ erature. 4 vols Cambridge: University Press, 1969.

Bentley. Gerald Eades. The Jacobean and Caroline Stage Dramat~c Companies and Players. 5 vols. Oxford, Clarendon Press , 1941; reprinted., 1949 •

. The Profession of Player in Shakespeare•s Time 1590- 1642. Princeton: Princeton UP, 1984.

Blom, Eric, ed. Grove's Dictionary of Music and Musicians, vol IV. New York, St. Martin's Press Inc., 5th ed. 19B4 .

Boyd, r•lorrison Comegys. Elizabethan Music and Musical Criticism. 2nd ed., Westport: Greenwood Press Publishers, 1962: reprinted. , 1975.

Brown, David. nJones, Robert." in The New Grove Dictionary of llusic and Husicians, vol 9 p. 703. Edited by Stanley Sadie. 1980.

Carpenter, Nan Cooke. Music in the Medieval and Renaissance Universities. Norman, Okla.: University of Oklaho~a Press, 1958: reprint eo., New York: Da Capo Press, 1972 ..

Chambers, E. K.. The Elizabethan Stage, Vol I-IV. Oxford: Clarendon Press, 1923; ed. 1961.

Crewsdon, Henry Alastair Ferguson, T.D., M.A., comp. The Worshipful Company of ~t-lusicians. Loncion: Constable and Co., Ltd., 1950; new ed., London: Charles Knight and Company, Ltd., 1971.

Cutts, John P. 11 Everie Woman in her Humor." Renaissance Ne\vs 18. (Autunm 1965): 209-213. -119-

Daniel, Ralph T. and LeHuray, Peter, compilers. The Sources of English Church Music 1549-1660. Part I and II. London: Starier and Bell, 1972.

Dart, Thurston, t-1.A. The Interpretation of Music. 4th ed., London: Hutchinson University Library, 1960.

Dodd, Gordon. 11 A Summary of Nusic for Viols . .. Early flusic 6 .. (April 1970): 262-267.

Doran, T. s. A. Dr. Annals of the English Stage from Thomas Better ton to Edmund Keen, Vol 1. New York: •J . J . ~1 iadle ton Publishers, 1865: republished, St. Clair Shores, Mich.: Scholarly Press, no date.

Doughtie, Edward, ed. Lyrics from English Airs: 1596-1622. Cambridge: Harvard University Press, 1970.

Einstein, Alfred. Essays on Music. London: Faber and Faber, 1956, rev . eng ed. 1958.

Feldman, Martha. 11 In Defense of Campion: A New Look at His Aryres and Observations ." The Journal of Musicology v. (Spring 1987) : 226.

Fellowes, Edmund Horace, C.H., M.v.o., M.A., Mus D. English Cathedral l~sic. Edited by J . A. Westrup. Westport: Greenwood Press Publishers, 1981 .

______.The English Madrigal Composers. 2nd edition. London: Oxford University Press 1921, 1948, reprinted 1967 .

------·• "The Text of the Song Books of Robert Jones." Music and Letters VIII (Jan 1927): 25-37.

______.Tudor Church Music, Appendix. ~lus D. New York: Brouclex Brothers; reprint 1963.

Greenberg, Noah, music ed., Auoen, ~·l.H. and Kallman, Chester, text ed., An Anthology of Elizabethan Lute Songs, Madrigals an Rounds.. Pew York: ~·1 . w. Norton & Co. , Inc. , 19 55 .

Greer, David. "What if a Day• - an Examination of the Words and r.~usic.•t husic and Letters 43 (Oct 1962): 304-319 .

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