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the semi-breve being the shortest. At first the breve was the 
shortest note, hence its name; then came the semi-breve; then 
followed the minim, or minimum. In the development of musical 
notes, we moderns have, for the present, arrived at a minimum at 
the quarter demi-semi-quaver; though Beethoven has actually 
written half-quarter demi-semi-quavers. In the practice of old 
music it is well to remember this, or by taking it too slowly we 
rob it of all spirit and animation. 
From the 11th to the 15th century the materials at our 
disposal are but scanty, but we get occasional glimpses of the state 
of musical culture in England. The Norman monarchs encouraged 
it; William I. assigned broad lands in Gloucestershire to his 
minstrel; and Matilda, the English queen of Henry I., screwed 
more than her due share of rents from her tenants in order to pay 
for her music. The same patronage was bestowed by the 
Plantagenet monarchs. Richard Cceur de Lion, a distinguished 
patron of minstrelsy, was both poet and musician—a type of 
the true minstrel. A few of his poems are still extant, among 
them, the one by which the minstrel Blondel is recorded to have 
discovered his captive master. In Edward I.’s time, a raid was 
made against the Welsh Bards, who, like the Druids, stirred up 
the people to repel the invasion of their country. Henry IV. 
imitated Edward’s example, but the Welsh Bards still remained, for 
as late as Queen Elizabeth’s reign, we find that they were wont to 
assemble the people on the mountain sides, and there relate the 
heroic deeds of their ancestors. The Welsh still hold their 
own, and are making praiseworthy efforts to encourage the 
practice of their national music. We need mention no more 
examples of royal patronage ; we find that our line of kings, from 
Alfred downwards, have liberally patronized music. Even the 
dull and heavy Hanoverian, who cordially hated “bainting and 
boetry,” had a liking for music; and our present Royal Family 
is distinguished for musical ability. 
Turning from the monarchs to the monks, the same love for 
music is apparent. The monasteries were, as formerly, the homes 
of musical culture, as they were the schools, the studios, the inns, 
Ss. 
ios 
No ,, 
