Index to musical allusions in the play texts
± Location of less standard stage directions as well as musical terms or concepts used figuratively
* Refer also to Glossary above
+ Selected examples of the use of this word which appears to have musical significance
Q Preceding a reference indicates its appearance in the First Quarto of 1623 (but not in the First Folio)
A
| A re | ToS III.i 72 |
| air (song) | Cym II iii 17; Mu II iii 57 |
| *alarum | |
| *alman | |
| angel (singing) | Cym IV ii 49; Ham V ii 313; MoV V i 61 |
| *anthem | TGoV III i 239 |
| (dance an) *antic, antic round, antick | LLL V i 106, 140; Mac IV i 145; TNK III v 75 |
B
| B mi | ToS III.i 73 |
| bacchanal | A&C II vii 100; MND V i 48 |
| *bagpipe(s), bagpiper | IH4 I ii 76; MoV I i 53, IV i 48, 55; Oth III i 19; WT IV iii 183 |
| *ballad, ballads | AW I iii 60, II i 73,172; A&C V ii 212; As II vii 148; 1H4 II ii 44; LLL I ii 104; MND IV i 210; WT IV iii 185, 188, 277-8, 281 |
| ballad maker | Cor IV v 225; Mu I i 235 |
| ballad monger(s) | IH4 III i 126 |
| bass, basses, base (pitch, voice) | ToS III.i 45, 46; Tem III iii 99; TGoV I ii 97; WT IV iii 44 |
| bass viol, see viol | |
| bawdy song | 1H4 III iii 12 |
| bells and bones | TNK III v 87 |
| *bells (funeral) | R&J IV iv 113 |
| (sweet) bells jangled | Ham III i 161 |
| *bergamask | MND V i 354 |
| bird of dawning (cock) (*bird song and calls) | |
| birds chant; heard a *bird sing | 2H4 V v 105; T.A.II iii 12 |
| bird song and calls (specified), see blackbird, cock, cuckoo, goose, jay, nightingale, ouselcock, raven,singing birds. throstle (thrush), warbling note, wren | |
| blackbird (*bird song and calls) | |
| blind harper’s song | LLL V ii 405 |
| blow, thou blow’st (wind instrument) | T&C IV vi 9, 10; IV vii 159 |
| *branle, *brawl, brawling | LLL III i 7, 8; R&J III i 3 |
| brazen din (trumpets) | A&C IV iv 36 |
| brazen pipe | T&C IV vi 7 |
| *breast (singing voice) | TN II iii 18 |
| breath (to sing) | TN II iii 21 |
| breath (playing a wind instrument) | Ham III ii 346 |
| * broken music (part music) | As I ii 131-2; H5 V ii 241; T&C III i 49 |
| broken time (musical rhythm) | R2 V v 43 |
| broken voice (adolescence) | |
| *burden, burthen (chorus) | As III ii 242, IV ii 13; Mu III iv 41; (Tem I ii 383); TGoV I ii 85; TNK IV iii 10; WT IV ii 194 |
| bugle | Mu I i 238 |
| buzzing melody | T.A.III ii 64 |
C
| C fa ut | ToS III.i 74 |
| calves’-guts (strings on a stringed instrument) | Cym II ii 28 |
| *canary (dance) | AW II i 73 |
| *caper | 2H6 III ii 264; LLL III i 10; MW III ii 61; Per IV ii 115; R3 I i 12; TN I iii 116, 135 |
| *catch | TN II iii 17, 57, 61, 62, 87 |
| *caterwauling | |
| catlings (strings on an instrument; name given to a musician in band) | R&J IV v 133; T&C III iii 294 |
| celestial harmony | Ham II ii 422; H8 IV ii 80 |
| change in the music | TGoV IV ii 66, 67 |
| chanson, chant, chants (song, sing) | Ham II ii 422; T.A. II iii 12; TN II iv 45; WT IV iii 208 |
| chirping of a wren | 2H6 III ii 42 |
| choir, choiring | Cor II ii 113; H8 IV i 92; MoV V i 62 |
| *cinque pace (‘sink-a-pace’) | Mu II i 67, 71; TN I iii 125 |
| *cittern head (decorative carved end of fingerboard) | LLL V ii 604 |
| cliff (clef) | ToS III i 75; T&CV ii 12 |
| close (musical cadence) | H5 I ii 182; R2 II i 12 |
| cock (*bird song and calls) | |
| *comets | |
| compact of jars | As II vii 5 |
| compass (range of musical notes) | Ham III ii 355 |
| *conceit (fancy) | |
| concord | AW I i 168; Mac IV iii 99; MoV V i 84; MND V i 60; R2 V v 47; TGoV I ii 95 |
| *consort (musical ensemble) | 2H6 III ii 331; R&J III i 44, 48; TGoV III ii 83 |
| *coranto | AW II iii 44; H5 III v 33; TN I iii 123 |
| *cozier’s catches | |
| crack (broken voice) | Cym IV ii 237 |
| crickets sing | Cym II ii 11 |
| crotchet(s) | Mu II iii 55; R&J IV iv 144 |
| crow (*bird song and calls) | |
| cuckoo (*bird song and calls) | |
| cymbals | Cor V iv 51 |
D
| D sol re | ToS III.i 75 |
| *dance, dancer, dances, dancing | A&C II i 73, vii 109, xi 36; As V iv 198; |
| see also soldier’s dance | LLL IV iii 355, V ii 146, 147, 218, 228. 400; MW III ii 91, V v 79; Mu II i 64, 97, V iv 116, 119; Per V Gower 3; R2 II iv 12, III iv 6; R&J I iv 13, 14, v 135, III i 48; Tos II i 33; Tem IV i 183; TN II iii 53; TGoV III ii 80; TNK V iv 47, V iv 51; WT V ii 144, 153, 182, 334, 346 |
| dancing measures | As V iv 191 |
| dancing schools | H5 III v 32 |
| deep harmony | R2 II i 6; R3 III vii 49 |
| *descant | R3 I i 27, III vii 49; TGoV I ii 95 |
| dirges | R&J IV iv 115 |
| *discord, discords | AW I i 167; As II vii 6; 3H6 V vi 48; Oth II i 199; R&J III i 47, v 28; T.A II i 70; T&C I iii 110 |
| discord in the spheres | As II vii 6 |
| disordered string | R2 V v 47 |
| distance (accuracy of intonation) | R&J II iv 21, III i 46 |
| *division (variation) | 1H4 III i 206; Lear I ii 134; Mac IV iii 97; R&J III v 29 |
| drone (bagpipe) | 1H4 I ii 70 |
| *drum | Cor I x 42, III ii 113, V iv 49, vi 150; IH6 I iv 80; Oth III iii 357; ToA IV iii 47, 58; T.A I i 274; T&C V ix 32 |
| *drum and fife | Mu II iii 15 |
| dulcet and heavenly sound, dulcet sounds | MoV III ii 51; ToS Ind. i 49 |
| *dump(s), deploring dump | Mu II iii 70; R&J IV v 132, 134; TGoV III ii 84 |
| dying fall (cadence) | TN I i 4 |
E
| E la mi | ToS III.i 76 |
| + ear, ears (listening to music) | Cym II iii 28; MoV V i 56; R2 V v 46; R&J II i 221 |
| eunuch (voice production) | Cym II iii 29 |
| excellent music | Mu II iii 87 |
F
| fa (position in musical scale), see also divisions | Lear I ii 152; R&J IV iv 145, 146 |
| false strains (discords) | As IV iii 69 |
| false (strings out of tune) | JC IV ii 342; TGoV IV ii 57. 59 |
| fancy (musical fantasia) | 2H4 Q III ii 327 |
| fiddle | H8 I iii 41, 42 |
| fiddler (musician figuratively) | ToS II.i 157; T&C III i 1, iii 293 |
| fiddlestick | 1H4 II iv 436; R&J III i 47 |
| fife | Cor V iv 50; MoV II v 30; Mu II iii 15; Oth III iii 357 |
| filthy tunes | 1H4 II iii 45 |
| finger (figurative) | Ham III ii 68, v 363 |
| fingering | Cym II iii 15; Ham III ii 70, 346, ToS II i 150, III.i 63 |
| flat (tuning) | TGoV I ii 94 |
| *flourish | MoV III ii 49 |
| *flute | A&C II ii 202, vii 129 |
| foot it, footing (dance) | R&J I v 26; Tem I ii 377 |
| *freeman song | |
| French song | H8 I iii 41 |
| fret (on fingerboard of instrument) | Ham III ii 359; ToS II i i49, 152 |
| full close (cadence) | H5 I ii 182 |
G
| *galliard | H5 I ii 252; TN I iii 123, 146 |
| gamut see *Ut, re, mi | ToS III.i 69, 70, 71, 72, 77 |
| (song of) good life | TN II iii 35, 37 |
| *good-nights | 2H4 Q III ii 328 |
| goose (cackle: *bird song and calls) | |
| govern, government (control when playing an instrument) | Ham III ii 345; MND V i 123; Mu III ii 55 |
| ground (bass) | R3 III vii 49; T.A. II i 7 |
H
| harmony, harmonious | Ham III ii 350; 2H6 II i 160; 3H6 IV vi 14; H8 III i 6, IV ii 80; LLL I i 165, IV iii 342; MND II i 151; MoV V i 57, 63; Mu II 111 38; Per II v 27, IV i 45; R2 I iii 159, II i 6; ToS III i 14; Tem III iii 18; IV i 119; T&C III i 52 |
| harp | 1H4 III i 123; MND V i 45; R2 I iii 156 |
| *hautboy | A&C IV iii 11; (Cor V iv 49); 2H4 III ii 316; (ToA I ii 146) |
| *hay (country dance) | LLL V i 147 |
| healthful music | Ham III iv 132 |
| hear (music) | MoV V i 65 |
| heavenly harmony, heavenly music, see also *still music | Per V i 234; ToS III i 5; Tem V i 52; T.A. II iv 48 |
| heavy music | 1H6 IV ii 40 |
| hoarse (singing voice) | As V iii 11 |
| hobby horse (in morris dance) | Ham III ii 128, 129 |
| holding (burden i.e. chorus all joining in) | A&C II vii 108 |
| holy descant | R3 III vii 49 |
| *hornpipe | WT IV iii 44 |
| *horns | LLL V i 64; MND IV i 124, 137; Mu II iii 59; T.A II iii 18, 27 |
| horse hairs (the bow of stringed instrument) | Cym II iii 28 |
| household harmony | 3H6 IV vi 14 |
| humming | Te II i 322 |
| hunter’s peal | T.A. II ii 13 |
| *hunts-up | R&J III v 34 |
| hymn | As V iv 135; MoV V i 66; MND I i 67 |
I
| in tune | As IV ii 8; Oth III iv 121; ToS III.i 37 |
| insectes singing, see crickets | |
| instrument(s) | As IV iii 69; Cym I x 41, IV ii 185;Ham III ii 358; JC IV ii 308, 332; R2 I iii 157; ToS I i 82, II i 99, III.i 22, 25, 62; T&C III i 92; TGoV III ii 83 |
| instrument(s) (wind) | Oth III i 3, 10 |
| instrument (lute) | JC IV iii 237 |
| instruments of war (trumpets) | Cor I ix 41; 1H4 V ii 97 |
J
| jar, jars, jarring note (discord) | As II vii 5; 2H6 II i 56; Lear IV vii 16; ToS III.i 38, 45, V ii 1; TGoV IV ii 68 |
| jay (*bird song and calls) | |
| + *jig | Ham II ii 503; LLL III i 10, IV iii 165; Mu II i 66; TN I iii 125 |
| jig maker | Ham III ii 119 |
K
| kept time (in musical performance) | As V iii 42; Ham III iv 131 |
| kettle(drum) | Ham I iv 12; V ii 269 |
| key | MND III ii 207; Mu I i 84 |
| key (tuning) | |
| knock-it (music begin) | H8 I iv 112 |
L
| lamenting dirges | T&A III ii 62 |
| lamenting elegies | TGoV III ii 81 |
| lark (bird song, *bird song and calls, ‘bird of dawning’) | Ham I i 161; LLL V ii 890; MND IV i 92; R&J III v 2, 6, 21, 27, 31, 33; WT IV iii 8 |
| la*volt, lavolta | H5 III v 33; T&C IV iv 85 |
| *loud music | A&C II vii 106 |
| love-song(s) | TN II iii 34, 36; TGoV II i 21-22; WT IV iv 193 |
| lullaby | T.A. II iii 29 |
| *lute(s) | (Ham IV v 20); IH4 I ii 75. III i 206; H8 Q III i 620; LLL IV iii 340; Mu II i 86; Per IV Gower 25; R3 I i 13 (ToS II i 38, 146, 147, 148, 156, III i 73); T.A II iv 45; TGoV III ii 78 |
| lute string | Mu III ii 1251 |
| (sing to the) lute; | Oth II i 20 |
| lute-case | H5 III ii 43 |
M
| *madrigals | (MW III i 17) |
| mannish crack (breaking voice) | Cym IV ii 237 |
| march | 3H6 II ii 60 |
| *masque(s) | A&C II vii 123; LLL IV iii 355, V ii 58; Mac II v 28; MoV II iv 821, v 870, 876, vi 978; MND V i 1872, 218, 1864; R&J I v 34, 37; ToS II siel?; TN I iii 218 |
| May-Day morris | AW II ii 23 |
| *mean (pitch of voice) | LLL IV ii 329; TGoV I ii 96; WT IV ii 44 |
| *measure (dance) | As V iv 44, 177; H5V ii 134; H8 II i 110; John I iii 304; LLL V ii 221, 222; MW V v 78; Mu II i 64, 66; R2 Q I iii 291, III iv 6; R3 I i 8; R&J I iv 9-10, v 49; TN V i 35; |
| melodious, melody | T.A. II iii 12, 27; T&C III i 67; TGoV I ii 86 |
| mellifluous voice | TN II iii 52 |
| mermaid’s song | CoE III ii 170 |
| merry ballad, merry note | (As II v 3); WT IV iv 284 |
| minim | R&J II iv 22 |
| minstrels, minstrelsy | 2H6 II i 56; LLL I i 174; Per V ii 7(2495); R&J III i 45, IV v 116=2773; ToA II ii 158 |
| *morris, morisco | AW II ii 24; H5 II iv 25; 2H6 III i 365; TNK II ii 277 |
| mouth (adolescent’s breaking voice) | AW II iii 61 |
| *music (band of musicians) | A&C II v 1, 3, 11; As V iv 1876; Ham IIII i 159, ii 295; 2H4 II iv 12, V v 106; H5 II iv 25; 2H6 III i 365; H8 I iii 47, II i 112, (III i 6, 12), IV ii 95; MoV V i 55; Mu II i 62; Oth III i 18; R&J III i 45, IV iv 22; IV v 16; ToS Ind .i 50 |
| *music (figuratively) | Ham II i 73, III i 150; H5 I ii 182; 2H6 II i 59; MND IV i 105, 109; R2 V v 44; R&J II iv 23, vi 27; ToA I ii 49 |
| *music, musics | A&C IV iii 9; As II vii 173, V iv 176; Cym II iii 11. 12, 27, 37, III iv 176, V iv (2); Ham III i 159, ii 282, 295, 347, IV 132, 1H4 V ii 98; 2H4 II iv 12, V v 106; Tem I ii 148, 390, 394, III ii 148, IV i 178; ToA I ii 130; T.A.II i 70; T&C III i 17, 24, iii 303; TN I i 1, II iv 1, III i 1; TGoV III i 179, IV ii 30, 34, 54, 66, 89; TNK III v 30, V viii 98H5 I ii 183, vii 250; 2H6 II i 56; JC I ii 103, IV ii 320; MfM IV i 14; MoV III ii 43, 45, 48, IV ii 29, 87, V i 53, 68, 69, 76; MND IV i 30, 86, V i 40; Mu II iii 13, 36, 40, 44, V i 68, 69, iv 120; Oth II i 201, III i 12, 15, 16; Per III ii 88; R2 II i 211; V v 42, 43; 61; R&J II ii 167, iv 23, IV iv 234; ToS Ind .ii 35, I.i 36, II i 56, III i 7; |
| *Music from the spheres, Music of the spheres | As II vii 6; Per V i 231: TN III i 113, 1342, 2446 |
| music in parts | H5 I ii 181; T&C III i 18 |
| music in the air / under the earth | A&C IV iii 12-13 |
| musical | As II vii 5; 1H4 III i 229; H5 III vii 17; MfM IV i 11 |
| musical …discord | MND IV i 117 |
| musician, *musicians | As IV i 11; Ham III ii 295, 298, 364, III iv 141; 1H4 III i 220, 228; 2H4 IV v 3, 4, V iv 106; H8 IV ii 78; MoV V i 105; Mu II iii 36 819; Oth IV i 191; R&J I v 28, IV v 102,138, 144; ToS I ii 172, II i 144; III i 62, ii 147; T&C III i 19; TGoV IV ii 5 |
| music’s origin | TNK V iv 61 |
N
| natural close (harmony) | H5 I ii 182 |
| night raven (*bird song and calls) | Mu II i 84 |
| nightingales sing, night bird (*bird song and calls) | MoV V i 104; R&J III v 2, 5, 7; TGoV III i 179 |
| noise (group of musicians) | 2H4 II iv 11; Mac IV i 106 |
| note, notes, noted (musical, pitch) | A&C IV iii 9; As V iii 40; Ham III ii 355; H8 IV ii 48 2632; LLL II v 3 2632, II iv 125, III i 12, Mu II iii 573, 54; Oth III i 10; R&J IV iv 145, 1776, 2779; ToS III i 77, IV iii 1094, V ii 1; ToA I ii 50; T.A. III i 86; T&C IV v 2, V iii 11,3282„ x 45 3672; TN I ii 81; TGoV I ii 81, V iv 5 |
| notes of sorrow (musical lament) | Cym IV ii 242 |
O
| organ (musical instrument: recorder) | Ham III ii 356 |
| ousel cock (blackbird : *bird song and calls) | |
| out of tune | As III ii 243; Cym, IV ii 242; Ham III i 161; R&J III v 27; T&C III iii 291; TGoV IV ii 58 |
| owl | Cym III v 2260 |
P
| (bear a) part (singing in parts) | WT IV iii 293, 296, IV iv 2624 |
| part writing | H5 I ii 181 |
| pavin (pavan), passymeaures pavin | TN V i 198 |
| pegs (of stringed instrument) | Oth II i 201 |
| pie(s) (magpie) | 3H6 V vi 48 |
| pipe(s), piping | Cor III ii 113; Ham III ii 68, 358, 369; LLL V ii 879; MND I i 67; II i 433; Oth III i 19; WT IV iii 182 |
| pipe (metaphor) | 2H4 Ind 15 |
| Pipe of Hermes | H5 III vii 18 |
| plainsong (no frills) | H5 V ii 57; H8 I iii 45; MND I i 138 |
| play (instrument) | Ham III ii 352, 359; 1H4 III i 220, 2H4 II i 244; LLL V ii 216; Mu V iv 120; TGoV IV ii 73 |
| point of war (trumpet) | 2H4 IV i 52 |
| prick-song | R&J II iv 21 |
| proportion (rhythmic) | R2 V v 44, R&J II iv 22 |
| psalms | WT IV iii 43 |
| psaltery | Cor V iv 50; Ham III ii 390 |
Q
| quick ear | TGoV IV ii 61 |
| quiring angels; quired; see choir, choiring |
R
| raven’s note | 2H4 III ii 40 |
| re (position of note in scale) | R&J IV v 120, 122 |
| rebec (instrument’s name given to a musician in band) | R&J IV v 136 |
| recheat (hunting summons) | Mu I i 235 |
| record (bird singing) | Per IV Gower 27; TGoV V iv 6 |
| recorder | Ham III ii 279; MND V i 123; Mu III ii 60 |
| reed voice (of male adolescence) | MoV III iv 67 |
| reels | Ham I iv 10 |
| rich music | R&J II vi 27 |
| ringlets (*round dance) | MND II i 86; em V i 37 |
| round, roundel (dance) | MND II i 14, ii 1 |
S
| sackbut(s) | Cor V iv 50 |
| sad and solemn music | H8 V ii 80 |
| scurvy tune | TN II ii 55 |
| *sennet | |
| sharp, sharps (tuning) | R&J III v 28; TGoV I ii 92 |
| sheep’s guts (strings on instrument) | Mu II iii 58 |
| silver sound (of stringed instruments) | R&J IV v 130, 132, 145 |
| sing, singing, sings, sung | AW I iii 81. 83, III ii 6-9, 240; A&C I v 9, II vii 107; As II v 20, 28, 45; vii 174, IV ii 11; Cor IV vi 8; Cym IV ii 49, 237, 241; Ham IV v 169, V iii 313; IH4 III i 205, 231, 240, 254, 255, V vi 49; 2H4 III ii 325; IH6 IV ii 40; (H8 III i 5); MW V v 95; T&C III i 60, iii 221, IV iv 84; V ii 10, 11; TN II iv 1, II iv 9, 41, 49, 67; TGoV I ii 83, 86, 89; TNK II iv 19; IV ii 82; WT IV iii 58, 137, 141, 184, 207, 212, 291, 293 |
| sings (metaphorically) | H5 III vii 16 |
| sing to the lute | Per IV Gower 25-6 |
| singing (birds) | (Cym II iii 20); R2 I iii 248 |
| singing-man | 2H4 II i 92 |
| sings (metaphor) | H5 III vii 16 |
| sings lamentably | WT IV iii 190 |
| sink-a-pace, see cinque-pace | TN I iii 125 |
| skill’d in music | TGoV III ii 91 |
| sleepy tune | JC IV ii 318 |
| so (position of note in scale) | R&J IV v 120 |
| softest music | R&J II ii 167 |
| soldier’s dance | Per II iii 95 |
| (sad and) solemn music; solemn air | Cym V iii 123, H8 V ii 80; Tem V i 57 |
| sol fa | ToS I ii 17 |
| song, songs | AW I iii 78, 81, III ii 9; As II v 12, vi 274, vii 4, III ii 242, IV ii 6, V iii 46; IH4 III i 216; Mu II iii 77; Oth IV iii 28; T&C III i 113; TN II iii 31, 34, II iv 34, 41; TGoV I ii 88, 96; TN II iv 41; TNK II iv 20; WT IV iii 58; 191, 314, 613 |
| sound (play music) | A&C II vii 131; Cym IV iii 235; Ham IV v 27, III ii 69; 1H4 III i 248 |
| soundpost (part of his instrument’s name given to a musician in the band) | R&J IV v 139 |
| sound music | MND IV i 83 |
| sounds of music | MoV V i 55; Tem I ii 391, II ii 55 |
| still music of recorders | TNK V i 136 |
| speak (instrumental voicing) | Ham III ii 391 |
| stop, stops (holes controlling pitch on wind instruments) | Ham III ii 69, 353; 2H4 Ind. 17; Mu II iii 55 |
| strain (tune, musical phrase) | JC IV iii 256; LLL IV iii 343; TN I i 4 |
| strike up | WT IV iii 165 |
| string, strings (instruments) | Cym IV ii 31; JC IV iii 288; Per I i 81; T.A. II iv 46; T&C I iii 109; TGoV IV ii 6 |
| (disordered) string | R2 IV v 47 |
| stringless instrument | R2 II i 150 |
| sung, see sing; song | |
| sweet air | Tem II ii 393 |
| sweet *consort | TGoV III ii 84 |
| sweet harmony | MoV II i 56; Per V i 45 |
| sweet music | MoV V i 69; R2 II ii 168; R3 IV ii 79; Tem III iii 19; T&C III ii 134; TGoV II vii 8 |
| sweet thunder | MND IV i 17 |
T
| tabor | Cor V iii 51; Mu I iii 13; TN III i 2; WT IV iii 182 |
| taborer | Tem III ii 154; TNK III v 23 |
| ta(m)bourines | A&C IV viii 76; T&C IV v 274 |
| Te Deum | H8 IV i 94 |
| three-man song-men | WT IV iii 43 |
| throstle, thrush (*birdsong and calls) | |
| time (rhythmic proportion) | As V iii 42; R2 V v 42, 43; R3 I i 24; R&J II iv 21 |
| tongs and the bones (rustic instruments) | MND IV i 29 |
| touch (play an instrument) | Ham III ii 344; JC IV iii 255; MoV V i 67; R2 I iii 163 |
| tongue (sound, singing | Cym II ii 15; R&J II vi 27 |
| treble (voice) | As II vii 162; 2H4 III ii 355 |
| treble (string) | ToS III.i 38 |
| treble hautboy | 2H4 III ii 316 |
| trip and go | LLL IV ii 139 |
| trip, trip it, tripping (dance) | John V ii 155; MW V v 91; MND IV i 101, V i 428; Per II iii 108; Tem IV i 46; TN II iii 43, V i 35; TNK III v 90 |
| triplex (in triple time) | TN V i 34 |
| Troy stanzas ‘Was this fair face’ | AW I iii 69-77 |
| trump; trump and drum | Oth III iii 356; T.A. I i 274 |
| *trumpet(s) | A&C II vii 129; Cor I x 42, V iv 50; Ham I iv 12, V ii 275, 276; 1H4 V i 4; 2H4 IV i 52; MoV V i 75; T&C I iii 253, 260, 274, IV v 3, 6, 11, V viii 14 |
| trumpet (cock crow) | Ham I i 14 |
| *trumpet (military); trump | 2H4 IV i 52, IV ii 34, V v 2; IH6 I iv 80; Oth III iii 3 |
| *trumpet (identifying the House) | ToS Ind. i 72; WT II ii 38 |
| trumpeters | A&C IV ix 35 |
| *tucket | H5 IV ii 35 |
| tunable (tuneful); see also out of tune | MND I i 84, IV i 123 |
| tune (figurative) | TGoV V iv 6 |
| tune (melody) | As V iii 14; 1H4 II ii 46; MoV V i 121; TGoV I ii 78; WT IV iii 186, 214, 262, 290, 295, 61 |
| tune (an instrument) | As II ii 203; Cym II iii 13, V v 466; Ham III i 167; LLL III i 12; R2 I iii 159; ToS III.i 39; T&C III iii 290; TN II iv 50; TGoV I ii 77, 80, 81, 86, 87, IV ii 25, V iv 6 |
| twangling (musical instrument) | ToS II i 158; Tem III ii 140 |
U
| unstring’d (instrument) | R2 I iii 156 |
| untun’d (instrument); untunable (out of tune) | As V iii 35; Lear IV vii 16 |
| untuned (figuratively) | Lear IV vi 14 |
| ut re mi la mi fa | LLL IV ii 99 |
V
| ventages (holes controlling pitch on wind instruments) | Ham III ii 345 |
| viol, viol-de-gamboys, bass viol | CoE IV iii 72; Per I i 81; R2 I iii 156; TN I iii 23 |
| virgin voice | Cor III ii 114 |
| virginals | TNK III iii 34 |
| virginalling upon his palm | WT I ii 127-9 |
| voice(s), (singing) | As II v 15, vii 161, viii 12, 40, V iii 12; Cym IV ii 236; Mu II iii 43 |
| *voltas | H5 II v 33 |
W
| warble, warbling note | As II v 34; MND V i 405 |
| wassail | Ham I iv 10 |
| wedlock hymn | As V iv 135 |
| well tuned | Oth II i 200; T.A III iii 18 |
| wind (blow the hunting horns) | Mu I i 238 |
| wind (playing) | Ham III ii 334 |
| wind instrument, wind instruments | Oth III i 6, 10, 19, 23 |
| wind pipe | ToA_______ |
| wooing dance | ToS I ii 68 |
| wren (*birdsong and calls) | 2H6 III ii 42 |
| wry-necked fife | MoV II ii537B |
Aké sú niektoré príklady hudobných alúzií v Shakespearových hrách podľa tohto indexu?
Index uvádza množstvo príkladov, ako sú piesne a hudobné termíny, ktoré sa objavujú v rôznych hrách, vrátane nástrojov a hudobných pojmov použitých obrazne alebo ako časť dialógu.
Môže takéto zameranie na hudobné detaily skresliť alebo preháňať ich skutočný význam v týchto hrách?
Aj keď dôkladné skúmanie hudobných alúzií môže priniesť hlbšie pochopenie textov, existuje riziko, že takéto detailné rozbor môže niekedy preceňovať význam týchto prvkov vo vzťahu k celkovému kontextu diela.
Môže byť nadmerné zameranie na takéto detaily v akademickom skúmaní považované za odvracanie pozornosti od dôležitejších témat Shakespearových hier?