INDEX OF WORKS BY NAMED COMPOSERS (or arrangers) of music current in Shakespeare’s time Compilers of anthologies are not here distinguished from composers, so that, …
Značka: Richard III
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
INDEX OF WORKS BY NAMED COMPOSERS (or arrangers) of music current in Shakespeare’s time Compilers of anthologies are not here distinguished from composers, so that, …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
INDEX OF WORKS BY NAMED COMPOSERS (or arrangers) of music current in Shakespeare’s time Compilers of anthologies are not here distinguished from composers, so that, …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
Abbreviation used for each play – with number of suggested potential musical interjections All’s well that ends well (AW-6) Antony and Cleopatra (A&C-8) As You …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
Toto je spomienka na tichého velikána z Poľska, ktorý celý život spracovával hry Williama Shakespeara, podrobne skúmal hudbu a hudobné nástroje v nich a vytvoril …
This incorporates an attempt to follow up any kind of musical allusion in the play texts and stage directions which relate to dance and other …
(CM202: 42 cues) Brissenden discusses the significance of images of dancing in the play (BR27-8). act scene line Click here to find out more about …
(CM156: 30 cues). Note especially Sharp ‘The Songs and incidental music in MND’ [SCm]. MH142: ‘chaste’ recorders more apposite than the expressive viols. L87-88: musicians …
(CM209-210: 17 cues). David Lindley’s recent Shakespeare in music LS218-233 treats this aspect of the play in detail. Nosworthy declares that ‘music informs the action …
(CM204: 11 cues) Perhaps the best-known attempt to reconstruct the music of Act I scene v played at the Capulet ball and banquet into which …
(CM242: 35 cues) The most recent contribution to the study of the place of music and dance in this play, in David Lindley’s Shakespeare and …
(CM266: 17 cues); see especially SQ Spring 1959, pp. 161-175; AS (1963) App II, p.172-4 for a discussion of the music and songs. Nosworthy notes …
(CM140: 30 cues) In Act V (‘The Belmont Act’) Shakespeare’s philosophy on the power of music is expounded (cf W7), an Act ‘drenched in moonlight …
(CM207: 17 cues) H. J. Oliver in OS (1982) gives the background to the Music Lesson in III i 45-83, DO 101-2 gives the score …
(CM203: 2 cues) SM17 in this play ‘the blaring stridency of military instruments is both self-expression and psychological compensation’. The York Waits have produced an …