In the book I investigate the political roles of music (particularly secular music-making) within the court of Queen Elizabeth I. IT’s begins by considering the musical reputation of Elizabeth herself. Did being a musician, music-lover and patron assist Elizabeth in projecting an image of authority, or did it leave her open to accusations of frivolity or even lust (as it often could for musical women)? Whom did Elizabeth choose to perform for and why? How might her performances for ambassadors have influence the course of negotiations – particularly those surrounding her marriage? Also politically significant was Elizabeth’s patronage of musicians: she employed a large number of musicians in both her household and her chapel who performed during court ceremonies, or festivities such as plays, masques, and dancing. In addition visitors often noted the luxurious and unusual instruments that were displayed throughout her royal palaces.
Yet one of the key themes about the book is that music at the Elizabethan court was not solely under the Queen’s direct control. Courtiers, noblemen, even the performers themselves all had influence over the music performed and the politics messages they conveyed. Courtiers who were intimate with the Queen might write lyrics and have them set to music if they thought they were in danger of losing her favour. Others took their opportunity in the tiltyard. Taking on a personal knightly persona they dressed up in elaborately themed armour travelling on a pageant car with a train of followers to present they personal shield to Elizabeth, all to the accompaniment of music. This pageantry before the jousting and other military sports began often revealed much about the nobleman’s political interests, the image of noble masculinity he wished to create, and his relationship with Elizabeth.
Elizabeth’s summer progress – tours through parts of her realm – opened up further opportunities for political music-making, both by courtiers and those usually more remote from the court. Elizabeth visited the estates of noblemen and made royal entries into towns. She not only visited loyal servants but also those whose activities were more suspected – Catholic gentlemen such as Lord Montague at Cowdray, or the Earl of Hertford who had earned royal displeasure by marrying a lady with royal blood without the Queen’s permission. These were vital occasions when the host (civic or noble) had the Queen’s attention and could make personal petitions or aim to influence her political policies. Music and song punctuated the elaborate entertainments that both towns and noblemen prepared for their Elizabeth, and these were always coloured by the politics of the occasion. Songs flattered the Queen, petitioned her for favour and rewards, made last-ditch attempts at wooing Elizabeth on behalf of suitors, and even criticised her policies and attitudes. All the while the musicians employed in these events had their eye on earning lucrative rewards or even a royal appointment.
I hope this has given you a flavour of some of the fascinating research behind this book. It paints a fascinating picture of how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the Elizabethan court, music was simultaneously a tool of authority for the monarch and an instrument of persuasion for the nobility.
If I’ve whetted your appetite, you can order online from Boydell and Brewer. Quote the reference 15800 to receive the offer price of £45 (ends 1/3/2015)