From 1660 through approximately 1830, the alteration of Shakespearean texts to comply with contemporary dramaturgy was a normal occurrence, and the need to adapt Shakespeare to popular tastes generated music quite different in style, function, and influence from that envisioned by the Elizabethan playwright. Shakespeare's plots and poetry were updated, and the role of music elevated. The musical repertoire created for this transfigured Shakespeareana represents the staggering variety of music on the English stage and shows ...
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From 1660 through approximately 1830, the alteration of Shakespearean texts to comply with contemporary dramaturgy was a normal occurrence, and the need to adapt Shakespeare to popular tastes generated music quite different in style, function, and influence from that envisioned by the Elizabethan playwright. Shakespeare's plots and poetry were updated, and the role of music elevated. The musical repertoire created for this transfigured Shakespeareana represents the staggering variety of music on the English stage and shows the effect of Continental musical influences, especially Italian opera and ballad opera. Proceeding chronologically, this book discusses music used in Shakespeare productions on the London stage during the 170-year period following the Restoration. Included are settings of Shakespeare's song lyrics, other original texts, and added non-Shakespearean texts, as well as incidental music, masques, operas and afterpieces based on the plays. Source materials documenting the arguments include manuscript scores, the extant music printed in play texts, and contemporary commentary from advertisements, criticism, playbills, and memoirs and correspondence. An appendix summarizes information about important productions and source materials in a series of charts cross-referenced to the extensive bibliography. Numerous musical examples illustrate the text, and scores of Shakespearean music by Arne, Boyce, Leveridge, Vernon, Weldon, and others are reprinted. Theater historians as well as music historians working in this period will find this book a valuable resource, as will theater practitioners interested in period productions.
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Seller's Description:
Good. First edition, 1992. Cloth hardcover, 318 pp., scholar Judith Milhous's copy (Milhous is cited in the Bibliography) with her signature on the front pastedown and her ink-and pencil-notes to the text, Good copy, no dust jacket.
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Seller's Description:
Fine in Not issued jacket. Size: 9x6x1; Hardcover; no dust jacket (as issued). Inscribed by the author, Randy L. Neighbarger. No other markings. Ships in a box. Ships from NYC.
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 800grams, ISBN: 0313278059.
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Seller's Description:
Fine. Sewn binding. Cloth over boards. 340 p. Contributions to the Study of Music and Dance, 27. Audience: General/trade. hardcover, brand new, clean unmarked pages but 1" x 1" rubbed section inside front cover, tight binding. With three appendices: Appendix A: A Collection of Shakespeare Music; Appendix B: Settings of Shakespearean Texts by Thomas Arne; Appendix C: Production Charts and Scene Analysis Tables. Ships in bubble wrap with tracking. white 1-C
