Music in Medieval England

rdf:langString Music in Medieval England

rdf:langString The Coventry Carol, performed by the U.S. Army Band Chorus.

rdf:langString An Estampie in polyphonic two-handed organ music from the Robertsbridge Codex

rdf:langString U.S. Army Band - Coventry Carol.ogg

rdf:langString Estampie Retrove Robertsbridge.ogg

rdf:langString Coventry Carol

rdf:langString Robertsbridge Codex

rdf:langString Music in Medieval England, from the end of Roman rule in the fifth century until the Reformation in the sixteenth century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. The sources of English secular music are much more limited than for ecclesiastical music. Medieval musicians had a wide variety of instruments available to them. The Anglo-Saxon scop and gleeman were replaced in the thirteenth century by the minstrel. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, the separate development of British Christianity until the eighth century, led to the development of a distinct form of liturgical Celtic chant. This was superseded, from the eleventh century by Gregorian chant. England retained unique forms of music and of instrumentation, but English music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. English musicians also developed some distinctive forms of music, including the Contenance Angloise, the rota, polyphonic votive antiphons and the carol and the ballad. The impact of humanism on music can be seen in England the late fifteenth century. Edward IV chartered and patronised the first guild of musicians in London in 1472, a pattern copied in other major towns cities as musicians formed guilds or waites, creating local monopolies with greater organisation, but arguably ending the role of the itinerant minstrel. There were increasing numbers of foreign musicians, particularly those from France and the Netherlands, at the court. The result was a very elaborate style which balanced the many parts of the setting and prefigured Renaissance developments elsewhere.