[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. A letter from Sir John Harrington to Prince Henry (brother of Charles I.) about Dr John Still, Bishop of Bath and Wells in 1592, says that no one "could be admitted to primam tonsuram, except he could first bene le bene con bene can, as they called it, which is to read well, to conster [construe] well, and to sing well, in which last he hath good judgment." [The three bene's are of course le-gere, con-struere, can-tare.]
Also, according to Hawkins (History of Music, p. 367), the statutes of Trinity College, Cambridge, founded by Henry VIII., make part of the Examination of Candidates for Fellowships to be in "Quid in Cantando possint"; indeed, all members were supposed capable of singing a part in choir service.[2]
(Long before this, in 1463, Thomas Saintwix, doctor in music, was elected Master of King's College, Cambridge.)
Accordingly, we find Henry VIII., who, as a younger brother, was intended for the Church, and eventually for the See of Canterbury, was a good practical musician. Erasmus says he composed offices for the church. An anthem, "O Lord, the maker of all things," is ascribed to him; and Hawkins gives a motet in three parts by the king, "Quam pulchra es."