In l. 14, 'fingering' and 'tongue' correspond to 'playing' and 'singing.' The first is to be a 'Fancy' for viols, 'a very excellent good-conceited thing'; the second is the 'wonderful sweet air,' Hark! hark! the lark.
'Good-conceited' means having many 'conceits.' These 'fancies' were always contrapuntal, and the various artificial contrivances, answering of points, imitations, and what not, are referred to under this title. The mention of 'horse-hairs and calves'-guts' makes it clear that the instruments in this 'morning music' were Viols.
Another 'evening music' is provided by Pericles, Prince of Tyre.
Pericles II, v, 24. Pericles, a musician [his education had been 'in arts and arms,' see II, iii, 82].
Per. All fortune to the good Simonides!
Sim. To you as much, sir! I am beholding to you
For your sweet music this last night: I do
Protest, my ears were never better fed
With such delightful pleasing harmony.
Per. It is your grace's pleasure to commend,
Not my desert.
Sim.Sir, you are music's master.
Per. The worst of all her scholars, my good lord.
The next quotation is also of 'morning music,' but with a different object—not a lady, but a soldier, and of a somewhat rough and ready kind, to judge by the Clown's critical remarks.
The passage seems to indicate the use of Bagpipes; for 'they speak in the nose' (see Merchant IV, i, 48), and are called wind-instruments, and are mentioned under the name 'pipes' in the last two lines. Moreover, there is the remark of the Clown, represented here by stars, which is terribly appropriate to that instrument.
Othello III, i. Cassio brings musicians to salute Othello.
Cass. Masters, play here; I will content your pains: Something that's brief; and bid "Good morrow, general."
[Music.]