Shakespeare, Music and Performance

Bill Barclay, David Lindley

• Publisher: Cambridge University Press
• Year: 2017
• Print ISBN: 9781107139336
• eBook ISBN: 9781108216227
• Topic: Literature
• Subtopic: English Literary Criticism
• Index: Literature

Music has been an essential constituent of Shakespeare's plays from the sixteenth century to the present day, yet its significance has often been overlooked or underplayed in the history of Shakespearean performance. Providing a long chronological sweep, this collection of essays traces the different uses of music in the theatre and in film from the days of the first Globe and Blackfriars to contemporary, global productions. With a unique concentration on the performance aspects of the subject, the volume offers a wide range of voices, from scholars to contemporary practitioners (including an interview with the critically acclaimed composer Stephen Warbeck), and thus provides a rich exploration of this fascinating history from diverse perspectives.

Table of contents

• Cover
• Half-title page
• Title page
• Copyright page
• Contents
• List of Illustrations, Tables and Music Examples
• List of Contributors
• Acknowledgements
• Introduction
• Chapter 1 Theatre Bands and Their Music in Shakespeare’s London
• Chapter 2 The Many Performance Spaces for Music at Jacobean Indoor Playhouses
• Chapter 3 In Practice I: Original Practices and Historical Music in the Globe’s London and Broadway Productions of Twelfth Night and Richard III
• Chapter 4 Ophelia’s Songspace: Élite Female Musical Performance and Propriety on the Elizabethan and Jacobean Stage
• Chapter 5 Jangling Bells Inside and Outside the Playhouse
• Chapter 6 Music, Its Histories, and Shakespearean (Inter-) Theatricality in Beaumont’s: Knight of the Burning Pestle
• Chapter 7 Changing Musical Practices in the Shakespearean Playhouse, 1620–42
• Chapter 8 In Practice II: Adapting a Restoration Adaptation – The Tempest, or the Enchanted Island
• Chapter 9 The Reception and Re-Use of Thomas Arne’s Shakespeare Songs of 1740–1
• Chapter 10 Processing with Shakespeare on the Eighteenth-Century London Stage
• Chapter 11 The Music for Henry V in Victorian Productions by Kean and Calvert
• Chapter 12 In Practice III: Listening to the Pictures – an Interview with Composer Stephen Warbeck
• Chapter 13 Film, Music and Shakespeare: Walton and Shostakovich
• Chapter 14 Music in Contemporary Shakespearean Cinema
• Chapter 15 The Politics of Popular Music in Contemporary Shakespearean Performance
• Chapter 16 In Practice IV: ‘Sounds Like’ – Making Music on Shakespeare’s Stage Today
• Chapter 17 Music in the 2012 Globe-to-Globe Festival
• Index