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 ¢À¡¦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.

Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de Cour. / Beyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment.