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Shakespeare and Music With Illustrations from the Music of the 16th and 17th centuries   By: (1867-1934)

Book cover

First Page:

SHAKESPEARE AND MUSIC

WITH ILLUSTRATIONS FROM THE MUSIC OF THE 16TH AND 17TH CENTURIES

BY

EDWARD W. NAYLOR, M.A., MUS. BAC.

LONDON J.M. DENT & CO., ALDINE HOUSE, E.C. 1896

All rights reserved.

[Transcriber's Notes:

1. The original text uses a "fraction" format for citations to Shakespeare's plays, e.g.:

3 Rom. 5, 25

For clarity, in this e text the "fractions" have been converted to a one line citation, e.g., Rom. III, v, 25 (signifying Act III, scene v, line 25). Where the original does not use the fraction format, the citation style has not been altered.

2. The original text sometimes misspells "Passamezzo" as "Passemezzo" and "viol da gamba" as "viol de gamba." These have been corrected in this e text.

3. The original text inconsistently uses a breve over the e in "Parthenia" and "Passameso." For clarity, the breve has been removed in this e text, as it is not part of the usual spelling of these words, and has in fact been omitted from the 1931 revised edition of the book.]

PREFACE

This book contains little that is not tolerably well known both to Shakespeare scholars and musicians who have any acquaintance with the history of music. It is hoped that it may be of some use to a large class of students of Shakespeare who have no opportunity to gather up the general information which will be found here. The author also ventures to believe that some brother musicians will be gratified to see at one view what a liberal treatment the great Poet has given to our noble art. It will be observed that settings of Shakespearian Songs of a later date than the generation immediately succeeding Shakespeare's death are not noticed. The large number of settings of the 18th century, by such men as Arne, though interesting musically, have nothing whatever to do with the student of Shakespeare and the circumstances of his time. It can only be regretted that so much of the original music seems to have perished.

The author is greatly indebted to Mr Aldis Wright, who has kindly looked through the work in MS., and contributed one or two interesting notes, which are acknowledged in the proper place.

LONDON, March 1896 .

CONTENTS

PAGE

DESCRIPTION OF FRONTISPIECE ix

INTRODUCTORY 1

TECHNICAL TERMS AND INSTRUMENTS 21

MUSICAL EDUCATION 58

SONGS AND SINGING 65

SERENADES AND 'MUSIC' 96

DANCES AND DANCING 113

PYTHAGOREANISM, etc. 152

USE OF MUSICAL STAGE DIRECTIONS 165

APPENDIX 185

DESCRIPTION OF FRONTISPIECE

[Illustration]

[I am indebted for the arrangement of this picture to the kindness of the authorities at South Kensington Museum, where all these instruments may be found, except the Pipe and Cornet, which belong to my friend, Mr W.F.H. Blandford.]

In the middle, on table.

QUEEN ELIZABETH'S 'VIRGINAL.' Date, latter half of 16th century. Outside of case (not visible in picture) covered with red velvet. Inside finely decorated. Has three locks. Is more properly a Spinet, the case not being square, but of the usual Spinet shape viz., one long side (front view), and four shorter ones forming a rough semi circle at back.

Top row, counting from the right.

1. TABOR PIPE. Modern, but similar to the Elizabethan instrument. French name, 'galoubet.' Merely a whistle, cylindrical bore, and 3 holes, two in front, one (for thumb) behind. The scale is produced on the basis of the 1st harmonic thus 3 holes are sufficient. It was played with left hand only, the tabor being hung to the left wrist, and beaten with a stick in the right hand. Length over all of pipe in picture, 1 ft. 2 1/2 in.; speaking length, 1 ft. 1 1/8 in.; lowest note in use, B flat above treble staff... Continue reading book >>




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