page_title: Scotland in the early modern period
section_title: Music
hierarchical_section_title: Scotland in the early modern period / Culture / Music
caption_attribution_description: English: Interior of the Chapel Royal in Stirling Castle, Stirling, Scotland.
context_page_description: Scotland in the early modern period refers, for the purposes of this article, to Scotland between the death of James IV in 1513 and the end of the Jacobite risings in the mid-eighteenth century. It roughly corresponds to the early modern period in Europe, beginning with the Renaissance and Reformation and ending with the start of the Enlightenment and Industrial Revolution.
  After a long minority, the personal reign of James V saw the court become a centre of Renaissance patronage, but it ended in military defeat and another long minority for the infant Mary Queen of Scots. Scotland hovered between dominance by the English and French, which ended in the Treaty of Edinburgh 1560, by which both withdrew their troops, but leaving the way open for religious reform. The Scottish Reformation was strongly influenced by Calvinism leading to widespread iconoclasm and the introduction of a Presbyterian system of organisation and discipline that would have a major impact on Scottish life.
context_section_description: The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver (c. 1488–1558), a canon of Scone Abbey. His complex polyphonic music could only have been performed by a large and highly trained choir such as the one employed in the Chapel Royal. James V was also a patron to figures including David Peebles (c. 1510–79?), whose best known work "Si quis diligit me" (text from John 14:23), is a motet for four voices. These were probably only two of many accomplished composers from this era, whose work has largely only survived in fragments. In this era Scotland followed the trend of Renaissance courts for instrumental accompaniment and playing. James V, as well as being a major patron of sacred music, was a talented lute player and introduced French chansons and consorts of viols to his court, although almost nothing of this secular chamber music survives.
  The Reformation had a severe impact on church music. The song schools of the abbeys, cathedrals and collegiate churches were closed down, choirs disbanded, music books and manuscripts destroyed and organs removed from churches. The Lutheranism that influenced the early Scottish Reformation attempted to accommodate Catholic musical traditions into worship, drawing on Latin hymns and vernacular songs. The most important product of this tradition in Scotland was The Gude and Godlie Ballatis, which were spiritual satires on popular ballads composed by the brothers James, John and Robert Wedderburn. Never adopted by the kirk, they nevertheless remained popular and were reprinted from the 1540s to the 1620s. Later the Calvinism that came to dominate the Scottish Reformation was much more hostile to Catholic musical tradition and popular music, placing an emphasis on what was biblical, which meant the Psalms. The Scottish Psalter of 1564 was commissioned by the Assembly of the Church. It drew on the work of French musician Clément Marot, Calvin's contributions to the Strasbourg Psalter of 1529 and English writers, particularly the 1561 edition of the Psalter produced by William Whittingham for the English congregation in Geneva. The intention was to produce individual tunes for each psalm, but of 150 psalms, 105 had proper tunes and in the seventeenth century. Common tunes, which could be used for psalms with the same metre, became more frequent. The need for simplicity for whole congregations that would now all sing these psalms, unlike the trained choirs who had sung the many parts of polyphonic hymns, necessitated simplicity and most church compositions were confined to homophonic settings. There is evidence that polyphony survived and it was incorporated into editions of the Psalter from 1625, but usually with the congregation singing the melody and trained singers the contra-tenor, treble and bass parts.
  The return of Mary from France in 1561 to begin her personal reign, and her position as a Catholic, gave a new lease of life to the choir of the Scottish Chapel Royal, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors. Like her father she played the lute, virginals and (unlike her father) was a fine singer. She brought French musical influences with her, employing lutenists and viol players in her household. James VI was a major patron of the arts in general. He made statutory provision to reform and promote the teaching of music, attempting to revive burgh song schools from 1579. He rebuilt the Chapel Royal at Stirling in 1594 and the choir was used for state occasions like the baptism of his son Henry. He followed the tradition of employing lutenists for his private entertainment, as did other members of his family. When he went south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. The Scottish Chapel Royal was now used only for occasional state visits, beginning to fall into disrepair, and from now on the court in Westminster would be the only major sour
caption: The interior of the Chapel Royal, Stirling Castle, a major focus for liturgical music
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