قراءة كتاب Shakespeare and Music With Illustrations from the Music of the 16th and 17th centuries
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Shakespeare and Music With Illustrations from the Music of the 16th and 17th centuries
Shakespeare and Music
WITH ILLUSTRATIONS FROM THE MUSIC
OF THE 16TH AND 17TH
CENTURIES
BY
EDWARD W. NAYLOR, M.A., Mus. Bac.
LONDON
J.M. DENT & CO., ALDINE HOUSE, E.C.
1896
All rights reserved.
Transcriber's Notes
1. The original text uses a "fraction" format for citations to Shakespeare's plays, e.g.:
For clarity, in this e-text the "fractions" have been converted to a one-line citation, e.g., Rom. III, v, 25 (signifying Act III, scene v, line 25). Where the original does not use the fraction format, the citation style has not been altered.
2. The original text sometimes misspells "Passamezzo" as "Passemezzo" and "viol da gamba" as "viol de gamba." These have been corrected in this e-text.
3. The original text inconsistently uses a breve over the e in "Parthenia" and "Passameso." For clarity, the breve has been removed in this e-text, as it is not part of the usual spelling of these words, and has in fact been omitted from the 1931 revised edition of the book.
4. The music images and sound files in this e-text were created using Finale Allegro 2005. The original text occasionally uses old-style symbols for time signatures and rests; these have been modernized in the images.
PREFACE
This book contains little that is not tolerably well known both to Shakespeare scholars and musicians who have any acquaintance with the history of music. It is hoped that it may be of some use to a large class of students of Shakespeare who have no opportunity to gather up the general information which will be found here. The author also ventures to believe that some brother musicians will be gratified to see at one view what a liberal treatment the great Poet has given to our noble art. It will be observed that settings of Shakespearian Songs of a later date than the generation immediately succeeding Shakespeare's death are not noticed. The large number of settings of the 18th century, by such men as Arne, though interesting musically, have nothing whatever to do with the student of Shakespeare and the circumstances of his time. It can only be regretted that so much of the original music seems to have perished.
The author is greatly indebted to Mr Aldis Wright, who has kindly looked through the work in MS., and contributed one or two interesting notes, which are acknowledged in the proper place.
London, March 1896.
CONTENTS
DESCRIPTION OF FRONTISPIECE
[I am indebted for the arrangement of this picture to the kindness of the authorities at South Kensington Museum, where all these instruments may be found, except the Pipe and Cornet, which belong to my friend, Mr W.F.H.