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During the reign of Queen Elizabeth I (1558–1603), English art and high culture reached a pinnacle known as the height of the English renaissance. 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 very fond of music and played the lute and virginal among others. She also 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 about 70 musicians. The interests of the queen were expected to be adopted by her subjects. All noblemen were expected to be proficient in play the lute and "any young woman unable to take her proper place in a vocal or instrumental ensemble became the laughing-stock of society." 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 stepbrother 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. 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 made of 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. ==Religion== The Church was a major influence for music in the 16th century. The Puritans wanted to do away with all Church music, but the will of the people to sing only made it more predominant. Many composers that wrote for the church also wrote for the royalty. The style of the church music was known as choral polyphony. Hundreds of hymns were written for the church. Many of those are still sung today. It is “doubtless (that) your worship requires music.〔Davis, William S. (1930). ''Life in Elizabethan Days', Pg. 121. Harper and Row.〕” At the most elegant of weddings, usually those of the nobility, the processional included musicians who played lutes, flutes, and violins. It was very common of that time for commoners to have music played for them whenever they wanted, too. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music in the Elizabethan era」の詳細全文を読む スポンサード リンク
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