"
[Footnote 1: See Appendix.]
[These mocking terms, sesqui-_paltery_, sesqui-_blinda_, and
sesqui-_harken-after_, are perversions of names of "proportions" used
in the 16th century--as, sesqui-_altera_ (3 equal notes against 2).]
We find, on p. 208, that both Philomathes and Polymathes are young
University gentlemen--looking forward hereafter to be "admitted to the
handling of the weightie affaires of the common wealth."
The lessons end with their request to the master to give them "some
songes which may serve both to direct us in our compositions, and by
singing them recreate us after our more serious studies."
Thus we find that in Elizabeth's reign it was the "custom" for a
lady's guests to sing unaccompanied music from "parts," after supper;
and that inability to take "a part" was liable to remark from the rest
of the company, and indeed that such inability cast doubt on the
person having any title to education at all.
We find that one music master was accustomed to have his gentleman
pupils so constantly "in his company" that they would practise their
singing while "walking in the fields."
Finally--that part-singing from written notes, and also the extempore
singing of a second part (descant) to a written plainsong, was a
diversion of such young University gentlemen, and was looked on as a
proper form of recreation after hard reading.
In the 16th century music was considered an _essential_ part of a
clergyman's education.
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