Echoing Drums in Early English Drama

Mithila Rajavel

998155598

Matthew Sergi

ENG331H1

Thursday, April 03, 2014

Echoing Drums in Early English Drama

Keywords: Drum, Expense, Performance, Instrument, Performers

Throughout the pages of the Records of Early English Drama (REED), we can find many references to various props, groups and settings that were needed to specifically construct and perform plays. Like all plays, music is a vital component of a play. It not only enhances the theatrics, but also casts distinct moods and creates general merriment. An enormous array of musical instruments were used in the plays in early english drama period (much like today)- the drums in particular, were used prominently throughout the entirety of the performances and at a multitude of social gatherings throughout the period of early english drama.

There is a slew of documentation that suggests that the use of drums were a definite necessity in the performance of plays. From a collection of the Treasurer’s Account Rolls from the Chester REED records, beginning from 1588, all payments for the drums, drum sticks, etc, are written separately compared to a general total calculation of the other instruments used; “item for playing on the drum at midsummer”. (162)  The payment for other musicians are all generalized and listed under ‘paide to the musisiners’. The expenses for drums and its parts, are mentioned numerous times in several accounts, and each one separately, adding emphasis to idea of a signifying heavier use for drums. Similar to the Chester accounts, an earlier listing of the expenses for drums in Devon in 1573, is also separated from the other instruments,“paid for a dromer at midsummer night” (154) The Devon REED records, in addition to the separation, list payments to the drummer under another specified sub-heading, ‘Extraordinary Expenses’, which only solidifies our assumptions towards the significance of the drums in its abundance (suggesting that the cost was pretty inexpensive).

The large expenditure on drums and wages proposes that there were many drummers used in performances. In the later 1642 Chamberlain’s accounts from the Sussex REED records, there are separate recorded payments to the ‘Drommer maior’ and to the ‘Drommer minor’. From this distinction, we can understand why so many drummers were needed for the performances and how they were distinguished from the other instrumental players. If we examine the ‘Old Meg of Herefordshire’ report from the Herefordshire Worcestershire REED volumes, there is a note saying that the Drumm-maior and the Drumm-minor were appointed to “strike vp and giue the alarum” (128) suggesting that the musicians were hired for other purposes as well. Though a greater number of  drummers are common to be apart of a performance, they were still separated and treated with more dignity that other instrument players.  In Sussex, from a record of an Assembly Book from 1573-4, two drummers, Philipe fairefild and Angell Shawe, ‘in cosideracion of their paines’ share a reward of  “a lieury a pece and frome hensforth yerly vppon their good and honest behaviour.” (121) In almost all the accounts across the Chester, Wales, Sussex, Devon and Herefordshire Worcestershire REED volumes, the drums along with the trumpets and pipes are singled out from the ‘other warlike musicke’. This separation suggests that these specific instruments were a vital part of the performance, important enough that they performance could not go on without them. The separation and distinct account of the rewards given to these drummers, provide evidence that drummers were held in a higher standing than that of the other musicians.

We see a further demand for drums as we venture through the REED volumes. Since the numerous expense on drums suggests a greater need for the instrument, the significance of its demand weighs in on the notion that the drums were not only used for music, but for other things as well. There is the inclination that an increased number in drummers suggests that there was a need for a greater, powerful sound. From this we can conclude that there must have been very large audiences attending these performances. Having numerous drummers, they would have been able to create very loud music, so that they may be audible to all of their audience. Drummers may have also been needed in a greater number for spatial coverage. It the performances were held outside, the drums would probably be scattered over a range of the performing space. This idea correlates to the structure of the monetary accounts across the REED volumes, and provides some insight as to why the expenses for each drum were recorded separately rather than altogether.

There are many references to the use of drums in performances during certain religious holidays and festivals. The REED records from the both Chester and Wales show accounts from the St.George Day Show,  “Called Chester with an Oration & drums before him” (259) The drums were also used as a signal and as guidance. During the St.George Day Show there are accounts detailing how drums were used in the parade to guide the way of the paraders down their route, “on horseback with the buckler and headpeece of St George and iii men to guide him with a drum, before him for the honor of Engle Land ” (259) During big gatherings, such as certain religious holidays and festivals similar to the St.George Day parade., we have many accounts of the drums used to call attention to the masses of people.

In addition to other uses, there are miscellaneous appearances of drums that occur irregularly throughout the REED records. There are anecdotes, particularly in the Herefordshire Worcestershire records, which describe how drums, along with guns, were used to cause disturbances. The Archdeaconry Hereford Acts of Office had an account when, “Hee actor and morrice dauncer, and haue gone out of the parrishe to other places with gune and drume both in the night to the disturbance of the kinges subiects.” (142) Drums can be used to call attention and to signal audiences to listen, however this can be used in a negative light as we can understand from this particular anecdote. Also, the fact that monetary records for drums exist in the archdeacon’s accounts, present the idea that drums were not only used by commoners, but maybe but higher ranked society members. This would correlate with the more luxurious payment that was given to the drummers in the Sussex records. Though the drummers placed higher in stature amongst musicians, we can assume that it was acceptable to play the drums by any person in any social standing.

The abundance of this particular instrument, accounts for its emergence in the unlikeliest of situations as well. We even see a drumstick make an appearance in an inquiry report looking into the murder of a man in Wale. It was recorded as a weapon used to attack the victim, “had then stricken him with one of the drumm stickes.” (119) The idea that a drum stick was used, gives us insight into how common drums were, especially if there were drum sticks lying around for anyone to pick up at random and use in a brawl.

There is a great collection of evidence throughout the Chester, Devon, Sussex, Wales and Herefordshire Worcestershire REED records about the numerous varying uses for drums and its significance to early english drama; the versatile use of the drums, allowed performers to use their drums for performances, social gatherings, etc. We see this particular instrument make an appearance from parades to public brawls; the drums also partake in beginning a hierarchical social standing amongst musicians and have acted as a speaker signalling to the public to pay attention and used as guidance for direction during parades and events. The drummers were held in higher social standings and they were vital to the theatrics of a performance. Rich in its versatility, the drums were crucial to the recreational part of the early english drama period.

Records of Early English Drama: Chester. Ed. Lawrence M. Clopper. University of Toronto: Toronto. 1979. Print.

Records of Early English Drama: Devon. Ed. John M.Wasson. University of Toronto: Toronto. 1986. Print.

Records of Early English Drama: Herefordshire Worcestershire. Ed. David N. Klausner. University of Toronto: Toronto. 1990. Print.

Records of Early English Drama: Sussex. Ed. Cameron Louis. University of Toronto: Toronto. 1949. Print.

Records of Early English Drama: Wales. Ed. David N. Klausner. University of Toronto: Toronto. 2005. Print.