An immediate problem which faces musical historians wishing to apply generalisations to the secular music that existed in England during the 120 years between the battle of Bosworth and the death of Elizabeth I is that in reality there are two distinct musical cultures present, one at either end of the period. After Henry VIII’s death, there occurred a mark change in the function and performance of social music: the clear dividing line which had hitherto existed between court music performed by professionals and a mainly aural tradition of songs and dances performed by minstrals became blurred.
