Female Music Making In Early Modern England

The Perception and Attitudes Towards Women in the Realm of Music in Early Modern EnglandDuring the Early Modern period in England, spanning approximately from the 15th to the 18th century, women were colloquially referred to as `the fair sex,` and in contrast to the modern day, their liberties were limited. Notably, their engagement with music was restricted and dictated by prevailing attitudes toward both music and femininity.

Music was highly thought of during the Early Modern period, primarily owing to its religious associations with praising God. The period witnessed fluctuations in religion prompted by changes in Monarchs, which, irrespective of the strains of Christianity—be it Catholicism or Protestantism—did not substantially alter the importance of music in society. Instead, music retained its standing as a remedy for many diseases and was seen as good for the soul.[1]

Within the philosophical framework of Neoplatonism, music had the significance of a symbolic manifestation of universal harmony and concord.[2] Furthermore, in The Praise of Musicke written in 1586, a parallel is drawn between the heavenly joy that both women and music exude.[3] Nevertheless, in Early Modern England society had apprehensions regarding women, considering them potentially distractions from religious contemplation or responsibilities. The combination of women and music, while deemed divine, was also perceived as dangerous – ‘spiritually restorative or physical temptation’.[4]

This perception was furthered by the association of music with feminine beauty and sexual allure, a connection regarded as inappropriate, potentially enticing men to give into their sexual urges. There was a belief that music intensified beauty and the beauty of those who performed music.[5] Philip Stubbes, in his treatise The Anatomy of Abuses, wrote ‘it corrupteth good minds, maketh them womannish and inclined to all kinde of whordome and mischéef.’[6] This is a prime example of how some scholars entirely disagreed with the notion of playing music because of how it would change the individual’s emotional state. The likening of women playing music to the myth of the sirens by Elizabethan authors underscored the perceived dangers of beauty in the playing of music.[7]

In the societal context of Early Modern England, women had a domestic role, expected to fulfil family duties and engage in household work. The pursuit of music was only tolerated if it did not infringe upon these prescribed responsibilities. Consequently, if their music-making was perceived as encroaching upon these domestic duties, women were expected to not engage with music and return to domestic life.[8]

Despite the negative perceptions regarding women in music during the Early Modern period, a significant number of scholars maintained the stance that the inclusion of music in women`s education was fundamental. This viewpoint was built on the belief that proficiency in music was a commendable attribute and an indication of knowledge.

Bathsua Makin, the daughter of a schoolmaster and having served as a tutor to the daughter of Charles I for singing, enthusiastically advocated for the incorporation of music into the educational curriculum for women.[9] She believed that women should attain fluency in music comparable to their proficiency in the English language. In her discourse on female education, Makin asserted that ‘Music, painting, poetry etc. are a great ornament and pleasure’.

Similarly, Richard Mulcaster spoke in his work Positions on the advantages of learning music, not only for women but also for men, and this contributed to the debate favouring the inclusion of music in education.[10] Mulcaster`s perspective outlined the broader societal acknowledgement of music in education rather than specific to a gender.

Owing to the current sexualization of women engaged in music during the Early Modern period, many parents strategically exploited this perception to enhance their daughters qualities so they are perceived as more knowledgeable and suitable for marriage.[11] In a literary source, Women Beware Women, a father articulates how he brought up his daughter in this method of parenting:

Sh’as the full qualities of a gentlewoman I’ve brough her up to music, dancing and what not, that may command her sex, and stir up her husband.[12]

This strategic approach was aimed to provide young women with various skills in literature and the arts. The resultant outcome was a well-rounded young lady that could attract a suitable husband. However, this method often led to the discontinuation of musical pursuits after marriage, as women no longer wanted to risk their image being interpreted as unchaste. Consequently, this attitude meant that women were restricted with their engagement with instruments to private domains and solely for potential suitors.

Scholars of the Early Modern period, such as Thomas Powell, supported the perspective that there was no benefit in musical education for young women. Powell articulated this in the statement, ‘instead of song and musicke, let [girls] learn cookery and laundrie.’[13] In his view, the learning of domestic skills held a much more substantive value for women than the cultivation of musical skills. Powell also aligned with the notion that musical proficiency could enhance feminine beauty and would create a distorted representation of a woman`s aesthetic attributes. Philip Stubbes, adopting an even more extreme stance, extended this perspective by characterizing daughters raised with music and dance as potentially ‘whoorish’ and ‘uncleane.’[14] For Stubbes there was an association of musical and dance education with moral degradation of the character of women immersed in music. This prevailing attitude among scholars described the broader societal scepticism regarding women’s reputations once they had engaged in musical pursuits during the Early Modern era.

There is a considerable amount of evidence within the domain of Early Modern women`s musical practices, particularly in the realm of amateur music-making within domestic settings. Illustrative of the evidence are pieces of artwork from the period, such as Gerard ter Borch`s 1675 painting titled `The Concert.`[15] This artistic representation portrays two women engaging in musical performance within a domestic environment, thereby offering an insight into practices of the time period. Notably, the portrayal shows the common nature of women participating in musical activities within the confines of their homes, with a preference for string or keyboard instruments. The societal norms of the period dictated that the use of drums or blown instruments by women was considered “unladylike".[16]

Figure 1: The Concert by Gerard Ter Borch

The demographic profile of women engaged in amateur music-making during the Early Modern period primarily consisted of young females seeking husbands or ladies of aristocratic descent. Notably, the aristocratic women, devoid of the domestic responsibilities that were more prevalent among poorer women in society, enjoyed more free time, thereby engaging in leisure activities such as music-making.[17]

A prominent example of aristocratic musical engagement is Queen Elizabeth I, renowned for her proficiency in playing the lute and singing. An event demonstrating her musical skill involved a discreet demonstration to Sir James Melville, where she orchestrated an encounter wherein he overheard her playing the lute. This calculated presentation was to show her musical prowess while maintaining a decorous demeanour, clear of any perceived sexual impropriety.

A vast amount of documentation attests to the musical education of young aristocratic women, particularly in the learning of instruments such as the lute or virginals, often within their homes rather than in public areas. The preference for private musical practice was derived from the desire for the preservation of a spiritual aspect inherent in solo female music. This aspect was often hindered in the presence of male audiences. Grace Sherrington`s diary shows us a typical example of a young lady practising music for spiritual purposes:

Everyday I spent some tyme in playing on my lute and setting songs of five parts thereunto and practiced my voice in singing psalms and prayer and confessing my sins.[18]

Given the current religious culture dominated by Christianity in Early Modern England, many women constrained their music making to religious compositions or those reflective of their spiritual connection with God. The fear mongering constructed by the church, propelled individuals, including women, towards lives that were almost entirely oriented towards serving God.

In the year 1613, Thomas Campion wrote `The First Book of Ayres’,[19] a collection of songs composed for the female vocal range.[20] These compositions were distributed in the form of printed books, commercially available for purchase, and were very popular among women who sought to engage in music-making within the domestic home. The availability and popularity of his work contributed significantly to Thomas Campion becoming a prominent figurehead in the field of domestic female music during the Early Modern period. These printed musical works provided women with an avenue for participation in the English musical culture, outlining the dominance of domestic music-making over professional music within the context of Early Modern England.

The professional realm of music-making during the Early Modern period remained inaccessible to women, this was influenced by current perceptions of music combined with femininity. The general consensus deemed public displays of female musicianship as inappropriate, a view underscored by literary representations of the time, such as William Shakespeare`s Hamlet, written around 1600.[21] In this iconic play, the character Ophelia`s descent into madness is indicated through her public performance of the lute. The fact that Ophelia`s public display of playing the lute serves as an early indication of her insanity depicts the significance of such actions within the society of Early Modern England. The portrayal in literature thereby demonstrates the implications associated with women publicly engaging in musical pursuits during this era.

Undeterred by social convention that typically restricted English women from formal musical training and composition, some instances of women engaging in professional music-making do exist.[22] However, this was a rare occurrence, and the scarcity of documented cases suggests a deliberate historical oversight, perhaps because of societal or religious disapproval of women`s involvement in public musical performances. Olive Baldwin and Thelma Wilson, in their article Purcell`s Sopranos,[23] shed light on the cases of Arabella Hunt and Charlotte Butler, two rare instances of professional female musicians in the Early Modern period.

Arabella Hunt, opting for a more cautious trajectory, dedicated her musical pursuits to performing for affluent acquaintances within courtly circles, avoiding public appearances, a choice that likely upheld her societal standing. On the contrary, Charlotte Butler embraced a more public career, venturing into theatrical performances and even gathering the attention of royalty. Historical records show her contributions to a Dublin theatre, depicting how she set herself apart from other female musicians of the time. Both Arabella Hunt and Charlotte Butler had the privilege of Henry Purcell composing music tailored to their voice, a testament to their musical abilities.

In conclusion, prevailing attitudes toward women and music in Early Modern England significantly restricted women`s freedoms in both leisure and professional domains. Scholarly connections between music and feminine divinity led to negative perceptions of female musicians. Despite how common amateur music-making was, societal restrictions, influenced by negative associations of women in music, hindered women`s engagement. Public disapproval was evident, with scarce evidence of professional female musicians encapsulating the animosity towards women in musical pursuits during this era. The combination of cultural norms, gender expectations, and religious influences shaped women`s involvement in music in Early Modern England.