A Short History Of English Music Part 3

It is said that the Morris dance can be traced to Saxon times, and that it is the one that has remained with the least variation from its original form. It must be admitted, however, that the difficulty of absolutely proving these a.s.sertions is almost insuperable, notwithstanding the amount of research that has been directed to the subject.

It can be traced definitely as far back as the reign of Edward III., and in its most popular form, is known as the may-pole dance.

It was particularly a.s.sociated with May Day, and was danced round a may-pole to a lively and capering step.

Reminiscences of these old "round" dances may be traced in games played by children to-day, such as "Kiss in the ring," "Hunt the slipper,"

"Here we go round the mulberry bush," and others of a similar type.

The onlookers sang and marked the rhythm by the clapping of hands.

With increasing skill in the making of musical instruments, and increasing art in playing on them, the dance gradually became independent, as is manifestly shown by music that is still extant, and while being evidently intended for dancing, is quite unsingable. Once then separated, the art naturally developed on bolder and more original lines. As the human voice was the first medium of expression in music, all lines necessarily radiated from it. Singing induced dancing; dancing required a more certain rhythmic force than the voice could supply; hence artificial aid by means of instruments, the first, doubtless, being those of percussion.

With the arrival of instruments of a more advanced character and capable of more varied expression, the progress of the art would naturally proceed with greater rapidity, and on lines displaying greater variety.

England, in those days, was avid of pleasure. It is little to be wondered at.

We speak of the people, not of the n.o.bles, whose wealth enabled them to combat the ordinary existing conditions.

Their day depended, in a very special sense, on the sun, in a manner surprising to those of us living in the twentieth century. It began with the rising, and ended with the setting.

Artificial light, except of the most primitive description, was a luxury entirely out of their reach.

If we, in modern times, remembering its fickle climate, wonder at the popularity of the month of May, and the adulation it received at the hands of the early poets, a little consideration will soon supply the cause. The long, weary months of winter, with its darkness and cold, had been endured; the bitter winds of March and April were over, and the long days and tempered breezes came to the people with a relief, the intensity of which is difficult to realise, with all the means of comfort that modern civilisation has placed at our disposal.

The ballad, as distinguished from the song, is peculiarly typical of the Northern races, and was, up to the time of Queen Elizabeth, a favourite feature of English music. As its name implies,[6] it was danced as well as sang; later on the dance was dispensed with.

Its antiquity is unquestionable, but it is, as is so often the case, impossible to a.s.sign any definite date to it.

The early part of the eleventh century certainly knew it in England, as the following stanza proves.[7] It tells of a visit paid to the city by King Canute:--

"Mery sungen the muneches binnen Ely.

Tha c.n.u.t ching reu therby: Roweth, cnites, noer the land, An here we thes muneches saeng."

This may be translated for the modern reader as follows:--

"Merry sang the monks of Ely, As King Canute rowed by.

Row knights, near the land And hear we these monks sing."

The music is, unfortunately, lost.

In Roman times a popular feature of the processions organised in honour of some newly-arrived conquering soldier was a band of dancers who, while gyrating in graceful movement, sang poems, reciting his heroic deeds.

The praise of heroes was, from the earliest, the dominant feature of the ballad, and, although far removed, as it must be from anything resembling even mediaeval methods, the Greek and Roman form of it is most probably the real source from which it is derived.

There are many kinds of ballad known to England, but they are narrative, as a rule, such as "Chevy Chase," and many others of a similar style.

Some are sad, some are gay; none are sentimental. One that can be seen in the Sloane Collection in the British Museum, "Joly Yankyn," is probably not much later than the one previously quoted. The name will recall Friar Tuck to the readers of Scott's "Ivanhoe."

A ballad that is believed to be of Eastern origin is the following:--

"THERE WERE THREE RAVENS SAT ON A TREE."

[Ill.u.s.tration]

[Text alternative:

There were three ra-vens sat on a tree, Downe-hay, downe-hay, downe-hay-downe. They were as black as they might be, With a downe, downe-hay, downe-hay-downe. Then one of them said to his mate, "Where shall we our break-fast take?" With a downe, downe-hay, downe-hay-downe.]

We are on safer ground, however, when we come to such a one as "To-morrow the Fox will come to Town," with the refrain, "I must desire you neighbours all, to hallo the fox out of the hall." This is altogether more English in character, and is filled with the spirit of open air life.

Other examples that seem inevitable of quotation, are those that Shakespeare has made immortal, by putting them into the mouth of Ophelia, in the tragic scene from Hamlet.

The music that we quote here is that which, there is every reason to believe, was sung at the original production.

The style accords with Shakespeare's time.

Unfortunately when Drury Lane Theatre was burnt down in 1812, the music library was destroyed. Happily, however, Mrs. Jordan, the celebrated actress with whose fame the part of Ophelia is for ever a.s.sociated, was alive, and was able to sing to Dr. Arnold, a famous musician of the time, the melodies, as they had been rendered in the theatre in her time, and probably for centuries past.

"HOW SHOULD I YOUR TRUE LOVE KNOW?"

[Ill.u.s.tration]

[Text alternative:

And how should I your true love know From ma-ny an-o-ther one? O by his coc-kle hat and staff,[8] And by his san-dal shoon. Tw.a.n.g, lang, dil-do, dee.]

"AND WILL HE NOT COME AGAIN?"

[Ill.u.s.tration]

[Text alternative:

And will he not come a-gain?... And will he not come a-gain? No, he is dead; Gone to his death-bed, And he nev-er will come a-gain....]

"ST. VALENTINE'S DAY."[9]

[Ill.u.s.tration]

[Text alternative:

Good mor-row, 'tis St. Val-en-tine's Day, All in the morn-ing be-time;... And I a maid at your win-dow, To be your val-en-tine....]

In "Parthenia," a collection of pieces for the virginals (an instrument that may be described as the ancestor of the piano), which was published in 1611, it is shewn to what a high point of development the composition of dance music had arrived.

The music was composed by the three most celebrated English musicians then living, William Byrd, John Bull, and Orlando Gibbons--Tallis had been dead over twenty years.

The pieces are of the most stately kind, in general, and would scarcely realise the modern conception of dance music, but they are beautiful specimens of the art of those days, and cannot but command our admiration.

Of the more lively and frivolous dances the one known as Trenchmore was the most popular.