It is impossible here to give even an outline of the history of Songs
and Singing in England. The general statement must suffice that vocal
music, accompanied by viols and harps, with songs and catches, were
common in the year 1230 in France; and any reader of Chaucer and Gower
may see for himself that vocal music was flourishing in the 14th
century in England. The English Round or Catch, mentioned above,
'Sumer is icumen in,' is most probably of the 13th century, and that
alone would be sufficient to characterise the popular vocal music of
that day. This composition is advanced in every way, being very
melodious, and at the same time showing that vocal harmony (_i.e._,
singing in parts) was greatly appreciated.
To proceed to a time nearer the age with which we are concerned--in
Henry VII.'s reign, there were many songs written, some for voices
only, and some with instrumental accompaniment. Amongst the former
are two songs in three parts, the music by William Cornyshe, Junior,
which are given in Hawkins.
Skelton wrote the words of the first, 'Ah, beshrew you by my fay,'
which is very coarse in tone, as was frequently the case with him; and
the second one, 'Hoyday, jolly ruttekin,' is a satire on the drunken
habits of the Flemings who came over with Anne of Cleves. Mrs Page
(_Wiv._ II, i, 23) refers to these Dutchmen, where, after receiving
Falstaff's love-letter, she exclaims, 'what an unweighed behaviour
hath this _Flemish Drunkard_ picked (with the devil's name!) out of my
conversation, that he dares in this manner assay me?'
The following is a curious picture by 'Skelton, Laureate,' of an
ignorant singer, who appears to have been throwing mud at the poet.
Skelton gives us a sad account both of his morals and his music.