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Chapter on Shakespeare and Music

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Ordered via ILL

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[incl. C.R. Wilson: ‘Shakespeare and Early Modern Music’, 119–41; A. Streete: ‘Shakespeare and Opera’, 142–68; J. Sanders: ‘Shakespeare and Classical Music’, 169–84; F. Teague: ‘Shakespeare and Musical Theatre’, 185–99; R.S. Edgecombe: ‘Shakespeare, Ballet and Dance’, 200–18; A. Hansen: ‘Shakespeare and Popular Music’, 219–36]

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She reveals that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics.", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2013-05-28", "publisher": "Ashgate Publishing, Ltd.", "place": "", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "300", "ISBN": "978-1-4094-7912-3", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "Reverberating Song in Shakespeare and Milton", "language": "en", "libraryCatalog": "Google Books", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "Literary Criticism / European / English, Irish, Scottish, Welsh", "type": 1 }, { "tag": "Literary Criticism / Shakespeare", "type": 1 }, { "tag": "Music / Instruction & Study / Theory", "type": 1 } ], "collections": [ "JRGTE5N4" ], "relations": {}, "dateAdded": "2014-11-24T02:46:36Z", "dateModified": "2020-02-06T03:35:14Z" } }, { "key": "72N9J6II", "version": 19, "library": { "type": "group", "id": 253388, "name": "Music and Shakespeare", "links": { "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/253388/items/72N9J6II", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare/items/72N9J6II", "type": "text/html" } }, "meta": { "createdByUser": { "id": 173491, "username": "krrubino", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/krrubino", "type": "text/html" } } }, "creatorSummary": "Groot", "parsedDate": "2011", "numChildren": 1 }, "data": { "key": "72N9J6II", "version": 19, "itemType": "journalArticle", "title": "Stravinsky's 'Musick to heare': A study in union and singleness", "creators": [ { "creatorType": "author", "firstName": "Rokus de", "lastName": "Groot" } ], "abstractNote": "Three songs from William Shakespeare (1953) is one of the first works in which Stravinsky explored serial composition. However, he complied neither with Schoenberg's or Webern's practice of dodecaphony, nor with the ways of the serial composers of his time. He rather engaged in a multiply hybrid approach, involving both diatonic and chromatic pitch collections as well as declamatory, modal, tonal, and serial treatments of them. Moreover he practiced cross-over composition: he dealt with a chromatic row in a modal way and a diatonic row in an atonal way. This article offers an analysis of this multiple hybridity in relation to Musick to heare, the first of the Shakespeare songs, and proceeds to assess the musical structures and procedures in connection with the polarity in the text between singleness and union/concord. It is suggested that Stravinsky perceived the concepy of 'union' as a multifarious one.", "publicationTitle": "Proceedings of the Twelfth International Conference of the Dutch-Flemish Society for Music Theory", "publisher": "", "place": "", "date": "2011", "volume": "16", "issue": "1", "section": "", "partNumber": "", "partTitle": "", "pages": "27-38", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "Dutch journal of music theory/Tijdschrift voor muziektheorie", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "PMID": "", "PMCID": "", "ISSN": "1385-3066", "archive": "", "archiveLocation": "", "shortTitle": "Stravinsky's 'Musick to heare'", "language": "", "libraryCatalog": "EBSCOhost", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "28: Western art music -- History. 1910 to present (history)", "type": 1 }, { "tag": "Stravinsky, Igor -- works -- Three songs from William Shakespeare -- use of serialism", "type": 1 }, { "tag": "serialism -- Stravinsky, I. -- Three songs from William Shakespeare", "type": 1 } ], "collections": [ "JRGTE5N4" ], "relations": {}, "dateAdded": "2015-03-05T18:20:45Z", "dateModified": "2018-04-05T19:51:56Z" } }, { "key": "T3R4KJIT", "version": 17, "library": { "type": "group", "id": 253388, "name": "Music and Shakespeare", "links": { "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/253388/items/T3R4KJIT", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare/items/T3R4KJIT", "type": "text/html" } }, "meta": { "createdByUser": { "id": 173491, "username": "krrubino", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/krrubino", "type": "text/html" } } }, "creatorSummary": "Rickenbacher and Bamberger Symphoniker", "parsedDate": "1994", "numChildren": 0 }, "data": { "key": "T3R4KJIT", "version": 17, "itemType": "audioRecording", "title": "Shakespeare-Suiten No. 1 & No. 2 ; Ouvertüre zu Die Heirat wider Willen ; Humoreske", "creators": [ { "creatorType": "composer", "firstName": "Engelbert", "lastName": "Humperdinck" }, { "creatorType": "performer", "firstName": "Karl Anton", "lastName": "Rickenbacher" }, { "creatorType": "performer", "name": "Bamberger Symphoniker" } ], "abstractNote": "", "audioRecordingFormat": "", "seriesTitle": "", "volume": "", "numberOfVolumes": "", "label": "", "place": "", "date": "1994", "runningTime": "", "ISBN": "", "DOI": "", "citationKey": "", "url": "http://www.naxosmusiclibrary.com", "accessDate": "2017-10-30T16:14:26Z", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "No Linguistic Content", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", "extra": "OCLC: 960947993", "tags": [], "collections": [ "JRGTE5N4" ], "relations": {}, "dateAdded": "2017-10-30T16:14:26Z", "dateModified": "2017-10-30T16:15:12Z" } }, { 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"numPages": "", "ISBN": "978-0-226-31958-2", "DOI": "", "citationKey": "", "url": "http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1180811", "accessDate": "2016-05-04T15:18:28Z", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "Curious and modern inventions", "language": "English", "libraryCatalog": "Open WorldCat", "callNumber": "", "rights": "", "extra": "", "tags": [], "collections": [ "JRGTE5N4" ], "relations": {}, "dateAdded": "2016-05-04T15:18:28Z", "dateModified": "2016-05-04T15:19:03Z" } }, { "key": "WCAG8TGD", "version": 14, "library": { "type": "group", "id": 253388, "name": "Music and Shakespeare", "links": { "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/253388/items/WCAG8TGD", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/music_and_shakespeare/items/WCAG8TGD", "type": "text/html" } }, "meta": { "createdByUser": { "id": 173491, "username": "krrubino", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/krrubino", "type": "text/html" } } }, "creatorSummary": "Biget-Mainfroy", "parsedDate": "2001", "numChildren": 1 }, "data": { "key": "WCAG8TGD", "version": 14, "itemType": "bookSection", "title": "Hector Berlioz lecteur de Shakespeare: Une dimension du romantisme en musique", "creators": [ { "creatorType": "author", "firstName": "Michelle", "lastName": "Biget-Mainfroy" }, { "creatorType": "bookAuthor", "firstName": "Małgorzata", "lastName": "Janicka-Słysz" }, { "creatorType": "bookAuthor", "firstName": "Teresa", "lastName": "Malecka" }, { "creatorType": "bookAuthor", "firstName": "Krzysztof", "lastName": "Szwajgier" } ], "abstractNote": "At the times when composers undertake literary activities, when novelists speak about music, and when artists are attracted by 'correspondances' in the Baudelairean sense of the word, it seems appropriate to explore the extent to which the knowledge of Shakespeare (acquired by reading translations of his plays or watching the performances in France) may have serves as the main inspiration for such an original music and knowledgeable composer as Hector Berlioz. The entire 19th c. was fascinated by Shakespeare, whose works played almost a mythical role for the Romantic generation, particularly in France and Germany. Berlioz's works Le roi Lear, Roméo et Juliette, or Béatrice et Bénédict are further manifestations of this fascination awakened in him by musical theater. Berlioz's diaries refer repeatedly to the English playwright, however, he did not turn to the authentic Shakespeare until the composition of Lélio, ou Le retour à la vie. His open dedication to Shakespeare should not obscure the fact that other, equally strong influences (Goethe in literature and Beethoven in the symphonic language) played the same significant role in the evolution of his musical thinking. If the opera Béatrice et Bénédict fits in the French tradition of comic opera, the compositions Lélio, ou Le retour à la vie or Roméo et Juliette reveal the composer's willingness to go beyond the traditional distinction of genre categories, distinguishing the moments when he composed for the stage and when he composed instrumental music of the dramatic character. The panorama of inspiration of the Romantic generation is very diverse: the great literature penetrates opera and the related comical genres. In his orchestration Berlioz masterfully differentiated dramatic effects, whether it was work based on Shakespeare or other writers. It is clear, however, that the spontaneous style of Shakespeare's literary output and the mixture of dramatic genres found a fruitful reflection in the artistic interests of Berlioz., [unedited non–English abstract received by RILM] W czasach, w których kompozytorzy chętnie podejmują aktywność literacką, w których powieściopisarze wypowiadają się o muzyce, a 'correspondances' (w baudelaireowskim znaczeniu tego słowa) przyciągają artystów, interesującym zagadnieniem wydaje się zbadanie, w jakiej mierze znajomość dzieł Szekspira (nabyta w oparciu o lektury tłumaczeń sztuk teatralnych lub poprzez oglądanie przedstawień wystawianych we Francji) mogła posłużyć jako główna inspiracja dla tego oryginalnego i wykształconego muzyka jakim był Berlioz. Cały zresztą wiek XIX szalał na punkcie Szekspira, którego teatr odegrał rolę niemal mityczną dla pokolenia romantyków, zwłaszcza we Francji i w Niemczech. W twórczości Berlioza utwory: Król Lear, Burza, Romeo i Julia, Beatrycze i Benedykt, Tristia stanowią przejawy kolejnych fascynacji, jakie rozbudził w nim teatr muzyczny. Ponadto jego pamiętniki odwołują sie wielokrotnie do angielskiego dramaturga, jednak do czasu powstania Lelio nie obserwujemy w twórczości Berlioza autentycznego zwrócenia się do Szekspira. Cześć jawnie oddawana Szekspirowi nie powinna przysłaniać faktu, że inne równie mocne wpływy - Goethego w literaturze i Beethovena w sferze języka symfonicznego - odegrały tak samo ważną rolę w ewolucji myślenia Berlioza. Jeśli utwór Beatrycze i Benedykt wpisuje się we francuską tradycję opery komicznej, kompozycje Lelio czt Romeo i Julia ujawniają wolę kompozytora do wyjścia poza ramy tradycyjnych kategorii od chwili, kiedy komponuje dla sceny, a nawet kiedy tworzy muzykę o charakterze dramatycznym, która obywa się bez inscenizacji. Panorama inspiracji pokolenia romantycznego jest bardzo różnorodna: wielka literatura przenika operę i gatunki mieszne, z nią spokrewnione. U Berlioza sztuka orkiestracji powoduje zróżnicowanie efektów dramatycznych, zarówno w przypadku gdy opiera się on na twórczości Szekspira, jak kiedy sięga też do innych autorów. Ale jest oczywiste, że spontaniczny styl literacki Szekspira i pomieszanie rodzajowe sztuk teatralnych znalazło odbicie w artystycznych zainteresowaniach Berlioza i było to owocne spotkanie.", "bookTitle": "Muzyka w kontekście kultury: Studia dedykowane Profesorowi Mieczysławowi Tomaszewskiemu w osiemdzisięciolecie urodzin", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "2001", "publisher": "Akademia Muzyczna w Krakowie", "place": "Krakow", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "pages": "369-79", "ISBN": "", "DOI": "", "citationKey": "", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "Hector Berlioz lecteur de Shakespeare", "language": "", "libraryCatalog": "EBSCOhost", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "27: Western art music -- History. 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