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Elizabethan music experienced a shift in popularity from sacred to secular music and the rise of instrumental music. Professional musicians were employed by the Church of England, the nobility, and the rising middle-class. Elizabeth I was fond of music and played the lute and virginal, sang, and even claimed to have composed dance music.
The Oxford English Dictionary notes that it is "Of uncertain or vague meaning: used by Greene in his attack on Shakespeare". Some scholars have hypothesised that all or part of Groatsworth was written shortly after Greene's death by Henry Chettle or another one of his fellow writers, hoping to capitalise on a lurid tale of death-bed repentance.
English Dances, Op. 27 and 33, are two sets of light music pieces, composed for orchestra by Malcolm Arnold in 1950 and 1951. [1] Each set consists of four dances inspired by, although not based upon, country folk tunes and dances. Each movement is denoted by the tempo marking, as the individual movements are untitled.
The introduction and adaptation of themes, models and verse forms from other European traditions and classical literature, the Elizabethan song tradition, the emergence of a courtly poetry often centred around the figure of the monarch and the growth of a verse-based drama are among the most important of these developments.
1631) was an English poet who came to prominence in the Elizabethan era, continuing to write through the reign of James I and into the reign of Charles I. [1] Many of his works consisted of historical poetry. He was also the first English-language author to write odes in the style of Horace. [1] [2] He died on 23 December 1631 in London. [2]
Title page of Anthony Holborne's Pavans, Galliards, Almains, and other short Æirs … (1599), published by William Barley. Anthony [Antony] Holborne [Holburne] (c. 1545 – 29 November 1602) was a composer of music for lute, cittern, and instrumental consort during the reign of Queen Elizabeth I.
Living in London at the same time as Shakespeare, Morley was the most famous composer of secular music in Elizabethan England. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.
It featured music between acts, a practice which the induction to Marston's The Malcontent (published 1604) indicates was not common in the public theatres at that time. Shakespeare's The Tempest (circa 1610), in which the stage directions call for music and sound effects, is an example of a play which may have been written for performance at ...