We find further on, in the same play, that to bring one's lady-love a music master was thought a handsome compliment.
Shrew I, ii, 170.
Hortensio. 'Tis well: and I have met a gentleman,
Hath promis'd me to help me to another,
A fine musician to instruct our mistress.
Moreover, in Pericles IV, vi, 185, we find that Marina, daughter of Prince Pericles, can 'sing, weave, sew, and dance.' Also see V, i, 78, where Marina actually does sing, to rouse her father from his melancholy.
III
Songs and Singing
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.