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The Jacobean era was the period in English and Scottish history that coincides with the reign of James VI of Scotland who also inherited the crown of England in 1603 as James I. [1] The Jacobean era succeeds the Elizabethan era and precedes the Caroline era.
He composed music for the masques and entertainments which were popular at court in the Jacobean era. For example, he wrote music for Oberon, the Faery Prince in which Prince Henry took the title role. He also served at the court of Charles I, remaining on the royal payroll until 1633, the year of his death.
Love Freed from Ignorance and Folly was a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones, with music by Alfonso Ferrabosco. It was performed on 3 February 1611 at Whitehall Palace, and published in 1616. Love Freed from Ignorance and Folly proved to be the last masque in which Anne of Denmark, King James I's Queen ...
The Masque of Augurs was a Jacobean era masque, written by Ben Jonson and designed by Inigo Jones.It was performed, most likely, [1] on Twelfth Night, 6 January 1622. A second performance of the masque, with textual revisions by Jonson, occurred on 5 or 6 May 1622.
Jacobean may refer to: An adjectival form of the name James; Jacobean era, the period of English and Scottish history that coincides with the reigns of King James VI and I Jacobean architecture; Jacobean English (the language used in the King James Version of the Bible) Jacobean furniture, see Elizabethan and Jacobean furniture; Jacobean literature
The Gypsies Metamorphosed, alternatively titled The Metamorphosed Gypsies, The Gypsies' Metamorphosis, or The Masque of Gypsies, was a Jacobean era masque written by Ben Jonson, with music composed by Nicholas Lanier. It was first performed on 3 August 1621, and was the biggest popular hit of Jonson's masquing career. [1]
Lovers Made Men, alternatively titled The Masque of Lethe or The Masque at Lord Hay's, was a Jacobean era masque, written by Ben Jonson, designed by Inigo Jones, and with music composed by Nicholas Lanier. It was performed on Saturday 22 February 1617, and was significant in the development and acceptance of opera in seventeenth-century England.
The notion of the 'Castalian band' in 20th-century scholarship derives in the main from a 1969 book by Helena Mennie Shire. [2] It was H. Mennie Shire and her collaborator Kenneth Elliot – who had produced The Music of Scotland (Cambridge 1964) – who drew particular attention to the verse lines by James, remarking that "It has been well suggested that King James' name for his poets at ...