The Court Entertainment at early Tudor and its Instrumental Ensemble Music

• Main Authors: Yu-Ying Chien, 簡昱穎
• Other Authors: Shun-Mei Cai
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/00436863137559725509

碩士 === 國立中山大學 === 音樂學系研究所 === 90 === English Abstract Tudor court gives support completely to the cultural activities, and court’s members have qualification for musical accomplishment that produced an effect on the whole surroundings. It builds close relations between the development of instrumental ensemble music and ceremonies, entertainment, and the living requirement. Therefore, the thesis intends to study the relationship between the court entertainment at early Tudor and its instrumental ensemble music. The content consists of four chapters, in addition to the introduction. Chapter one is the general discussions about the contemporary polity, economy, society, religion, and cultural context from the end of the fifteenth-century to the early of the sixteenth-century. In the second chapter contains the details of the court entertainment, the third chapter focuses on the thirty-five pieces from Henry Ⅷ’s Book, which are the absence of text , and the fourth draws a conclusion. From Middle Ages to Renaissance, the situation in England changes from variety aspects such as politics, economy, society, religion, and culture, But it provides a favorable atmosphere with the instrumental ensemble. The music is indispensable to the court environment of the early Tudor. The minstrel’s number and ability represent the status of the employer. Moreover, the instrumental ensemble what musical type is proper for the ceremonies, entertainment, and performance. The thirty-five pieces are considered as embryonic form that pieces for instrument, and differed in length and style. They are classified in three: one is “puzzle canon”, another is “consort”, and the rest is arrangement of the voice or the special technique pieces. Because most of which are simple chord style, it is demonstrated that new noblemen are fond of the pieces. However, the simple style of the early instrumental ensemble music is distinct from the polyphonic style of the consort afterwards. The style’s change attributes to the rising new nobility, the Reformation, the trend of Renaissance thought, the patron of the Royal, and the import of the foreign music, player, and instrument. In a word, the musical phenomenon that is the variety of the style reflects the changes in the society of the Tudor.