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20 - Music

from Part II - Theater

Published online by Cambridge University Press:  17 August 2019

By
David Lindley
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

AlarumballadBlackfriars (playhouse)children’s companiescornetinstrumental musiclutemasquemusicmusic of the spheresmusic roomparleyretreatsennetshawmsignalssongtrumpettucket
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 135 - 141
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Auden, W. H. “Music in Shakespeare.” The Dyer’s Hand and Other Essays. London: Faber and Faber, 1963. 500–27.Google Scholar
Austern, Linda. Music in English Children’s Drama of the Later Renaissance. Philadelphia: U of Pennsylvania P, 1992.Google Scholar
Boyd, Morrison Comegys. Elizabethan Music and Music Criticism. Rev. ed. Philadelphia: U of Pennsylvania P, 1962.Google Scholar
Hollander, John. The Untuning of the Sky: Ideas of Music in English Poetry, 1500–1700. Princeton: Princeton UP, 1961.Google Scholar
Hume, Tobias. Captain Hume’s Poeticall Music. London: 1607.Google Scholar
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Morley, Thomas. The First Booke of Consort Lessons. London: 1611.Google Scholar
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Walls, Peter. Music in the English Courtly Masque, 1604–1640. Oxford: Clarendon, 1996.CrossRefGoogle Scholar
Wilson, Christopher R., and Calore, Michela. Music in Shakespeare: A Dictionary. London: Continuum, 2005.Google Scholar

Further reading

Austern, Phyllis. “‘Alluring the Auditorie to Effeminacie’: Music and the Idea of the Feminine in Early Modern England.” Music and Letters 74 (1993): 343–54.Google Scholar
Austern, Phyllis. “‘Sing Againe Syren’: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature.” Renaissance Quarterly 42 (1989): 420–48.CrossRefGoogle Scholar
Baskerville, Charles Read. The Elizabethan Jig and Related Song Drama. Chicago: U of Chicago P, 1929.Google Scholar
Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002.Google Scholar
Headlam Wells, Robin. Elizabethan Mythologies: Studies in Poetry, Drama and Music. Cambridge: Cambridge University Press, 1994.Google Scholar
Holman, Peter. “Music for the Stage I: Before the Civil War.” Music in Britain: The Seventeenth Century. Ed. Spink, Ian. Oxford: Blackwell, 1992. 282–305.Google Scholar
Hosley, Richard. “Was There a Music-Room in Shakespeare’s Globe?” Shakespeare Survey 13 (1960): 113–23.Google Scholar
Lindley, David. “Blackfriars, Music and Masque: Theatrical Contexts of the Last Plays.” The Cambridge Companion to Shakespeare’s Last Plays. Ed. Alexander, Catherine M. S.. Cambridge: Cambridge University Press, 2009. 29–45. <DOI: 10.1017/CCOL9780521881784.012>CrossRefGoogle Scholar
Lindley, David. Shakespeare and Music. London: Thompson Learning, 2006.CrossRefGoogle Scholar
Long, John H., ed. Music in English Renaissance Drama. Lexington: U of Kentucky P, 1968.Google Scholar
Munro, Lucy. “Music and Sound.” The Oxford Handbook of Early Modern Theatre. Ed. Dutton, Richard. Oxford: Oxford UP, 2009. 543–59.Google Scholar
Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell UP, 2011.CrossRefGoogle Scholar
Seng, Peter J. The Vocal Songs in the Plays of Shakespeare: A Critical History. Cambridge: Harvard UP, 1967.Google Scholar
Smith, Bruce R. The Acoustic World of Early Modern England. Chicago: U of Chicago P, 1999.Google Scholar
Sternfeld, F. W. Music in Shakespearean Tragedy. London: Routledge and Kegan Paul, 1963.Google Scholar
Woodfill, Walter L. Musicians in English Society from Elizabeth to Charles I. Princeton: Princeton UP, 1953.Google Scholar

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