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Elizabeth I was fond of music and played the lute and virginal, sang, and even claimed to have composed dance music.[1][2] She felt that dancing was a great form of physical exercise and employed musicians to play for her while she danced. During her reign, she employed over seventy musicians. The interests of the queen were expected to be adopted by her subjects. All noblemen were expected to be proficient in playing the lute and "any young woman unable to take her proper place in a vocal or instrumental ensemble became the laughing-stock of society."[3] Music printing led to a market of amateur musicians purchasing works published by those who received special permission from the queen.

Despite England's departure from the Roman Catholic Church in 1534, English did not become the official language of the Church of England until the reign of Elizabeth's half brother Edward VI. His reign saw many revisions to the function within the Anglican Church until it was frustrated by the succession of Catholic Queen Mary. Queen Elizabeth re-established the Church of England and introduced measures of Catholic tolerance. The most famous composers for the Anglican Church during Queen Elizabeth's reign were Thomas Tallis and his student William Byrd. Both composers were Catholics and produced vocal works in both Latin and English. Secular vocal works became extremely popular during the Elizabethan Era with the importation of Italian musicians and compositions. The music of the late Italian madrigal composers inspired native composers who are now labelled as the English Madrigal School. These composers adapted the text painting and polyphonic writing of the Italians into a uniquely English genre of madrigal. Thomas Morley, a student of William Byrd's, published collections of madrigals which included his own compositions as well as those of his contemporaries. The most famous of these collections was The Triumphs of Oriana, which was made in honour of Queen Elizabeth and featured the compositions of Morley, Thomas Weelkes, and John Wilbye among other representatives of the English madrigalists.

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Instrumental music was also popular during the Elizabethan Era. The most popular solo instruments of the time were the virginal and the lute. The virginal was a popular variant of the harpsichord among the English and one of Elizabeth's favourite instruments to play. Numerous works were produced for the instrument including several collections by William Byrd, namely the Fitzwilliam Virginal Book and Parthenia. The lute strung with sheepgut was the most popular instrument of the age. Lutes could be played as solo instruments or as accompaniment for singers. Compositions of the latter variety were known as lute song. The most popular Elizabethan composer for the lute and of lute songs was John Dowland. Several families of instruments were popular among the English people and were employed for the group music making. If all of the instruments in an ensemble were of the same family they were considered to be in "consort". Mixed ensembles were said to be in "broken consort". Both forms of ensembles were equally popular.

In music history, the music of the English Renaissance is noted for its complex polyphonic vocal music, both sacred and secular, and the emergence of instrumental music. With the gradual shift in the early Baroque period, England experienced a decline in musical standing among European nations. After Dowland, the greatest English composer was Henry Purcell, whose death left a void in English music history until the Victorian era.

Street musicians or travelling minstrels were looked down upon. They were feared and soon grew out of style and were replaced by the tavern and theatre musician. Street music was common to be heard at markets and fairs. The music was usually light and quick. They performed using fiddles, lutes, recorders, and small percussion instruments attracting crowds whenever they played. The songs they played and sang were traditional favourites, "a far cry from the sophisticated and refined music of the Elizabethan court." [1]

Theater became increasingly popular when music was added. Location on stage meant everything to a theatre musician. The location gave certain effects to the sound produced. This could be the impression of distance or providing an atmosphere to the plays and performances done. Theatre music became even more popular with the rise of William Shakespeare in the 1590s.

A madrigal was the most common form of secular vocal music. The poetic madrigal is a lyric consisting of one to four strophes of three lines followed by a two-line strophe."[8] The English Madrigals were a cappella, light in style, and generally began as either copies or direct translations of Italian models, with most being for four to six voices.[9]

The next most popular stringed instrument, made in sizes and played in consorts or alone, was the viola da gamba. The viol had six strings, and frets of gut tied around the neck, rather than embedded in the fingerboard. The shape of the body was somewhat like the violin family instruments, but with deeper ribs, a shallow top plate and a flat back in two parts with the upper part angled to give clearance to the player. There were three main sizes: treble, tenor, bass, with reference made in a Gibbons six-part fantasia to the "great double bass." Unlike the violin family instruments, the viol bow was held underhanded, with the palm up and the middle finger in contact with the bow hair. The most popular size of the viol was the bass. Although roughly the size of a small cello, the bass viol had no end-pin, and, like the other viols, was supported by the legs (hence the Italian name, viola da gamba.) They were most commonly played in consort, i. e. as a family in groups of three, four, five, and six. In this way, they could be used as accompaniment for singing. Duet music for any two of the family still exists, and the bass, alone, was a popular solo instrument for pieces such as Woodycock. A small bass (or tenor-sized viol tuned as a bass) was often employed to play polyphonic music, Lyra-Way. When used in this fashion, the instrument was called lyra viol.

The Elizabethan era saw the rise of a few different musical instruments, including the lute and the bass viol. The lute was a stringed instrument that was closely related to the guitar. The lute was popular among musicians and affluent people. The bass viol was a precursor to the modern day cello. It was played with a bow and was closely related to the viol.

The theatrical environment was also key to the rise of the organ. Organists were hired to play music between scenes, providing a soundtrack to the performance.

The cornet and trumpet were two instruments that were popular during the Elizabethan era but were later phased out.

One important compositional shift in the Elizabethan era was the move away from isorhythm. Isorhythm was a very common technique in the Medieval era, but it quickly fell out of fashion in the Elizabethan era. Instead, composers started using more varied rhythmic figures, giving them more tools to create interesting music. Another compositional shift in the Elizabethan era was the move away from syllabic settings. Syllabic settings were very common in the Medieval era, but they fell out of fashion towards the end of the 15th century. With these two compositional shifts, composers were able to write richer, more complex music. They also had more options for creating interesting, varied timbres. By moving away from these techniques that were so common in the Medieval era, composers were able to create a new sound that was more in line with the Elizabethan era.

A significant number of composers of the Elizabethan era used the technique of memo. This involves writing a short musical phrase and then writing variations on it until a complete piece of music has been created. This can be compared to the compositional practices of the Baroque era, in which composers often used the technique of theme and variations.

The music of the Elizabethan era featured polyphonic melodies and homophonic textures. Polyphonic melodies are those in which more than one voice is heard simultaneously. Homophonic textures are those in which one voice is heard at a time.

The shift towards a less syllabic style meant that composers had more freedom with their choices of notes. This was important, because it allowed them to make music that was richer and more complex. It also meant that composers were able to create more dramatic effects with their music. One important rhythmic practice in the Elizabethan era was the use of hemiola. Hemiola was used to create a feeling of acceleration, and it was often employed towards the end of pieces to create a sense of climax. It was also used in dance music to create a sense of momentum.

Overall, the Elizabethan era was a time of great musical change. Composers had more tools than ever before to create interesting, complex music. They also had more options for creating rich timbres and dramatic effects with their music. These developments led to a new sound that was very different from the music of the Medieval era. While Medieval music focused on formal complexity and rich textures, Elizabethan music was bolder, louder, and more dramatic.

The sounds of lutes and harpsichords reverberated through the Beinecke Rare Book and Manuscript Library on Wednesday evening as the Collegium Musicum musical group performed a series of Elizabethan pieces.

Collegium Musicum was also joined by Piffaro, a Renaissance wind ensemble from Philadelphia, giving Yale College students the opportunity to rehearse with and learn from professionals in the world of early music.

The group is supported by the Beinecke library as well, as the library provided both a space to perform in addition to the source material. Herried transcribed and translated original copies of sheet music into modern music notation for his students. 17dc91bb1f