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260 - Jazz

from Part XXVI - Shakespeare and the Performing Arts

Published online by Cambridge University Press:  17 August 2019

By
Michael Ingham
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

ambiguityambivalenceconcorddiscordduetemotionhighbrowimprovisationjazzjouissancepopularragtimerhythmscatsettingssonnetswingsyncopationvocal
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1852 - 1860
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Ardley, Neil, Carr, Ian, Gibbs, Mike, and Tracey, Stan. Will Power: A Shakespeare Birthday Celebration in Music. 1975. Vocalion, 2CDSML8412. 2005. CD.Google Scholar
Barthes, Roland. “The Grain of the Voice.” Image, Music Text. Trans. Heath, S.. London: Fontana, 1977. 179–89.Google Scholar
Bristol, Michael. Big-Time Shakespeare. London: Routledge, 1996.Google Scholar
Cunniffe, Thomas. Retro-Review: Cleo Laine. Shakespeare and All That Jazz (Fontana 5209). Jazz History Online. http://jazzhistoryonline.com/Cleo_Laine.html.Google Scholar
Eliot, Thomas S. Four Quartets. London: Faber and Faber, 1944.Google Scholar
Eliot, Thomas S. “The Music of Poetry.” On Poetry and Poets. London: Faber and Faber, 1957. 26–38.Google Scholar
Ellington, Duke, and His Orchestra. Such Sweet Thunder. 1957. Columbia/Legacy, CK65568. 1999. CD.Google Scholar
Groves, Peter. “My Heart Dances: Rhythm and Emotion in Shakespeare’s Verse.” Conference paper given at ANZSA Conference: Shakespeare and Emotion. University of Western Australia. November 2012.Google Scholar
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Laine, Cleo, and Dankworth, Johnny (with special guest Jacqui Dankworth). Once Upon a Time. Qnote, QNT 10108. 2005. CD.Google Scholar
Eliot, Thomas S. Shakespeare and All That Jazz. Universal Records. 1964. Fontana, B000CSUWY4. 2006. CD.Google Scholar
Lanier, Douglas. “Minstrelsy, Jazz, Rap: Shakespeare, African American Music, and Cultural Legitimation.” Borrowers and Lenders: The Journal of Shakspeare and Appropriation 1.1 (2005): 1–29. http://www.borrowers.uga.edu/782016/display.Google Scholar
Madrigal, Jazz. Shakespeare’s Music of Love. New Age Music, CD-24016. 1998. CD.Google Scholar
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Sanders, Julie. Shakespeare and Music: Afterlives and Borrowings. Cambridge: Polity, 2007.Google Scholar
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Further reading

Booth, Stephen. An Essay on Shakespeare’s Sonnets. New Haven: Yale UP, 1969.Google Scholar
Buhler, Stephen M. “Form and Character in Duke Ellington and Billy Strayhorn’s Such Sweet Thunder.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781406/display.Google Scholar
Buntin, Mat., and Fischlin, Daniel. “Shakespeare, Canada and Jazz: The Ellington Connection.” Canadian Adaptations of Shakespeare Project. http://www.canadianshakespeares.ca/multimedia/audio/m_a_jazz.cfm.Google Scholar
Callaghan, Dympna. Shakespeare’s Sonnets. Malden: Blackwell, 2007.CrossRefGoogle Scholar
Cooke, Mervyn, and Horn, David, eds. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press, 2002.Google Scholar
Corrigan, Alan. “Jazz, Shakespeare and Hybridity: A Script Excerpt from Swingin’ the Dream.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1. 1 (spring–summer 2005). http://www.borrowers.uga.edu/781411/display.Google Scholar
Greenblatt, Stephen. Cultural Mobility: A Manifesto. Cambridge: Cambridge University Press, 2009.Google Scholar
Hansen, Adam. Shakespeare and Popular Music. London: Continuum, 2010.Google Scholar
Hawkes, Terence. “The Duke’s Man: Ellington, Shakespeare and Jazz Adaptation.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781405/display.Google Scholar
Lanier, Douglas. Shakespeare and Modern Popular Culture. Oxford Shakespeare Topics. Oxford: Oxford UP, 2002.Google Scholar
Newmark, Peter. “Serious Songs: Their Texts as Approximate Translations of Their Music.” Translation Quarterly 41 (2006).Google Scholar
Schalkwyk, David. “Poetry and Performance.” The Cambridge Companion to Shakespeare’s Poetry. Ed. Cheney, Patrick. Cambridge: Cambridge University Press, 2007. 241–59.Google Scholar
Teague, Francis. “Swingin’ Shakespeare from Harlem to Broadway.” Borrowers and Lenders: The Journal of Shakespeare and Appropriation 1.1 (spring–summer 2005). http://www.borrowers.uga.edu/781407/display.Google Scholar
Van Kampen, Claire. Sleep No More: Incidental Jazz Music Composed by Claire Van Kampen with the Shakespeare’s Globe Musicians. From Globe Theater 2001 production of Macbeth. International Globe Centre. 2001. CD.Google Scholar
Vendler, H. The Art of Shakespeare’s Sonnets. Cambridge: Harvard UP, 1999.Google Scholar

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