中文提要：
英國都鐸宮廷對於文化事業的贊助不遺餘力，其皇室成員的音樂涵養更帶動整個大環境對於音樂的喜好，器樂合奏的發展與早期宮廷禮儀與生活需求關係十分密切。有鑑於此，本論文將探討英國都鐸宮廷饗宴與早期器樂合奏曲之相互影響。
除了序論之起，通篇研究包含三大章節，第一章首先從英國都鐸王朝早期之社會背景導入，包括十五世紀末到十六世紀以來英國政治、經濟、宗教與文化等相關議題；第二章討論都鐸宮廷早期的音樂環境；第三章將藉由《亨利八世宮廷的音樂》中三十五首未附歌詞的曲子，以探究英國早期器樂合奏曲之源起；第四章為最後結論。
處於中世紀到文藝復興的銜接時期，此時的英國在政治、經濟、乃至於宗教文化等層面上都為一動盪不安的情況，影響音樂上的發展，並造就器樂曲興盛的有利背景。音樂是都鐸早期的宮廷環境中不可或缺的部分，對於貴族階級而言，器樂手的數量、能力與其雇主之位階高低息息相關，在宮廷中諸多禮儀，娛樂與表演場合中器樂合奏是最佳之音樂類型。從《亨利八世宮廷的音樂》中三十五首未附歌詞的曲子，可以觀察早期器樂合奏曲以簡明風格為多數，正是投新興貴族所好之驗證，然而前述之簡明風格樂曲與後來鼎盛時期的以複音手法為主的合奏音樂顯然屬性不同，其風格轉向，受到政治上新興貴族崛起、宗教改革、文藝復興之思潮、王室之贊助、外來樂手與樂器引進等諸多環境因素之影響，換言之，音樂上所呈現的風格轉變正是受到都鐸王朝所引領的大環境變化使然。

English Abstract
Tudor court gives support completely to the cultural activities, and court’s members have qualification for musical accomplishment that produced an effect on the whole surroundings. It builds close relations between the development of instrumental ensemble music and ceremonies, entertainment, and the living requirement. Therefore, the thesis intends to study the relationship between the court entertainment at early Tudor and its instrumental ensemble music.
The content consists of four chapters, in addition to the introduction. Chapter one is the general discussions about the contemporary polity, economy, society, religion, and cultural context from the end of the fifteenth-century to the early of the sixteenth-century. In the second chapter contains the details of the court entertainment, the third chapter focuses on the thirty-five pieces from Henry Ⅷ’s Book, which are the absence of text , and the fourth draws a conclusion.
From Middle Ages to Renaissance, the situation in England changes from variety aspects such as politics, economy, society, religion, and culture, But it provides a favorable atmosphere with the instrumental ensemble. The music is indispensable to the court environment of the early Tudor. The minstrel’s number and ability represent the status of the employer. Moreover, the instrumental ensemble what musical type is proper for the ceremonies, entertainment, and performance. The thirty-five pieces are considered as embryonic form that pieces for instrument, and differed in length and style. They are classified in three: one is “puzzle canon”, another is “consort”, and the rest is arrangement of the voice or the special technique pieces. Because most of which are simple chord style, it is demonstrated that new noblemen are fond of the pieces. However, the simple style of the early instrumental ensemble music is distinct from the polyphonic style of the consort afterwards. The style’s change attributes to the rising new nobility, the Reformation, the trend of Renaissance thought, the patron of the Royal, and the import of the foreign music, player, and instrument. In a word, the musical phenomenon that is the variety of the style reflects the changes in the society of the Tudor.

序論 ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥1
第一章 英國都鐸王朝早期之社會背景 ‥‥‥‥‥11
第一節 政治與社會經濟情況 ‥‥‥‥‥‥‥‥11
第二節 都鐸王權對宗教發展之影響 ‥‥‥‥‥16
第三節 文化層面與音樂需求 ‥‥‥‥‥‥‥‥21

第二章 都鐸宮廷早期的音樂環境 ‥‥‥‥‥‥27
第一節 音樂在宮廷饗宴的作用 ‥‥‥‥‥‥‥‥28
第二節 樂手的來源與種類 ‥‥‥‥‥‥‥‥‥35
第三節 器樂合奏的類型 ‥‥‥‥‥‥‥‥‥‥‥44

第三章 英國早期器樂合奏曲 ‥‥‥‥‥‥‥‥‥48
第一節 都鐸早期歌譜中的器樂合奏曲 ‥‥‥‥‥49
第二節 器樂合奏曲與聲樂曲之淵源‥‥‥‥‥‥‥70
第三節 無名調早期的發展‥‥‥‥‥‥‥‥‥‥‥75
第四節 器樂合奏的樂器配置 ‥‥‥‥‥‥‥‥‥78

第四章 結論 ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥82

參考書目 ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥94

附錄一 《亨利八世宮廷的音樂》目錄 ‥‥‥‥‥‥‥100

附錄二 亨利七世與八世宮廷音樂家名單 ‥‥‥‥‥‥103

中文
哈雷。 《文藝復興時代的歐洲文明》。 賈士蘅 譯。 台北市：國立編譯館，民國88年。
希伯特。 《英國社會史》。 賈士蘅 譯。 台北市：國立編譯館，民國84年。
屈勒味林。 《英國史》。 錢段森 譯。 台北市：商務，民國68年。
羅時實。 《英吉利簡史》。 臺北市： 國防研究院，民國49年。
羅勃茲。 《英國史》。 賈士蘅譯。 台北市：五南，民國75年。
黃鴻釗。 《英國簡史》。 臺北市：書林，民國86年。
許介鱗。 《英國史綱》。 臺北市：三民，民國83年。
鈕康博。 《亨利八世與英國宗教改革》。 黃煜文譯。 臺北市：麥田，民國89年。
王春元。 《伊莉莎白女王時期的英國》。臺北市：書林，民國89年。
杜爾。 《亨利八世》。 陳芝華譯。 台北市：鹿橋文化事業，民國84年。
蘇其康。 「英國文藝復興時代的宮廷饗宴與娛樂」。 《英美文學評論》，第五期，1-46。

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