The court culture of James I : the music and ceremony in early seventeenth-century London
The Jacobean Court has previously been the subject of musicologists' work on
ensembles and repertory, but the actual place of music and musicians in the institution
of the court has been neglected. This thesis draws on recent work by historians on the
structure and nature of the court. Chapter 1 takes in the new historiographical
methodologies to examine the place of royal musicians within the wider structure of
court culture, leading to a re-drafting of the picture of London's musical spheres.
Chapter 2 provides a close examination of the royal household, and the changes in
structure and style wrought by the succession of a new dynasty. The implications for
musicians are examined in terms of the organisation of their work, and their roles in
ceremony as a tool in James's new strategies for Kingship.
Chapter 3 examines the structure and nature of the City of London, the context
for the outer layers of court culture. The complex relationship between the City and the
Court is explored through the medium of ceremony and its use both in projecting
idealised images of the City and mediating between the two jurisdictions. The role of
music and musicians is examined at the practical and theoretical interface between the
City and the Court. Chapter 4 considers the place of royal musicians beyond the
confines of their professional domain, at the different interfaces of London life and as
agents of the outward-spreading networks of court culture. Court musicians are
examined in relation to their physical setting, in terms of social spheres and interactions,
and in the ways in which they were integrated into the urban fabric of London. The
musicians' backgrounds and profession and personal networks are explored, in addition
to modes of employment, identities and status, and implications caused by the accession
of James 1.