Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-2brh9 Total loading time: 0 Render date: 2024-11-22T15:33:09.990Z Has data issue: false hasContentIssue false

76 - Music

from Part VIII - High Culture

Published online by Cambridge University Press:  17 August 2019

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
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources cited

Butler, Katherine. “‘By Instruments Her Powers Appeare’: Music and Authority in the Reign of Queen Elizabeth I.” Renaissance Quarterly 65 (2012): 353–84.Google Scholar
[Case, John]. The praise of musicke: wherein besides the antiquitie, dignitie, delectation, & vse thereof in ciuill matters, is also declared the sober and lawfull vse of the same in the congregation and church of God. Ed. Sutton, Dana. London: 1586. STC 20184. The Philological Museum. http://www.philological.bham.ac.uk/music3/.Google Scholar
Duffin, Ross W.To Entertain a King: Music for James and Henry at the Merchant Taylors Feast of 1607.” Music and Letters 83 (2002): 525–41.CrossRefGoogle Scholar
Duffin, Ross W. Shakespeare’s Songbook. New York: Norton, 2004.Google Scholar
Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002.Google Scholar
Harwood, Ian. “‘A Lecture in Musick, with the Practice Thereof by Instrument in the Common Schooles,’ Mathew Holmes and Music at Oxford University C.1588–1627.” The Lute: Journal of the Lute Society 45 (2005): 170.Google Scholar
Hattaway, Michael, ed. As You Like It. By William Shakespeare. Updated ed. The New Cambridge Shakespeare. Cambridge: Cambridge University Press, 2009.Google Scholar
Jorgens, Elise Bickford, ed. English Song, 1600–1675. 11 vols. New York: Garland, 1987.Google Scholar
Lindley, David. Shakespeare and Music. London: Arden, 2006.CrossRefGoogle Scholar
Lumsden, David, et al. “Johnson, Robert (ii).” Grove Music Online. Oxford Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/14415. Accessed 4 June 2012.Google Scholar
Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.Google Scholar
Morley, Thomas. The first book of ayres. Or little short songs, to sing and play to the lute and the base viole. STC 18115.5. London: 1600.Google Scholar
Morley, Thomas. A plaine and easie introduction to practicall musicke, set downe in forme of a dialogue: deuided into three partes, the first teacheth to sing with all things necessary for the knowledge of pricktsong. The second treateth of descante and to sing two parts in one vpon a plainsong or ground, with other things necessary for a descanter. The third and last part entreateth of composition of three, foure, fiue or more parts with many profitable rules to that effect. With new songs of, 2. 3. 4. and .5 [sic] parts. STC 18133. London: 1597.Google Scholar
Morley, Thomas. comp. Madrigales the triumphs of Oriana. STC 18130. London: 1601.Google Scholar
Mulcaster, Richard. Positions vvherin those primitive circumstances be examined, which are necessarie for the training vp of children either for skill in their booke, or health in their bodie. STC 18253. London: 1561.Google Scholar
Murray, Teresa Ann. “Thomas Morley and the Business of Music in Elizabethan England.” PhD diss., U of Birmingham, 2010.Google Scholar
Murray, Teresa Ann. Thomas Morley Elizabethan Music Publisher. Woodbridge: Boydell Press, 2014.Google Scholar
Ornithoparcus, Andreas. Andreas Ornithoparcus his micrologus. Trans. Dowland, John. STC 18853. London: 1609.Google Scholar
Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell UP, 2011.Google Scholar
Peacham, Henry. The compleat gentleman fashioning him absolute in the most necessary & commendable qualities concerning minde or bodie that may be required in a noble gentleman. STC 19502. London: 1622.Google Scholar
Price, David C. Patrons and Musicians of the English Renaissance. Cambridge: Cambridge University Press, 1981.Google Scholar
Quitslund, Beth. The Reformation in Rhyme: Sternhold, Hopkins and the English Metrical Psalter, 1547–1603. Aldershot: Ashgate, 2008.Google Scholar
Skura, Meredith Anne. Tudor Autobiography: Listening for Inwardness. Chicago: U of Chicago P, 2008.CrossRefGoogle Scholar
Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Smith, Jeremy L.Music and Late Elizabethan Politics: The Identities of Oriana and Diana.” Journal of the American Musicological Society 58 (2005): 507–88.Google Scholar
Stern, Tiffany. Documents of Performance in Early Modern England. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Temperley, Nicholas. The Music of the English Parish Church. Cambridge: Cambridge University Press, 1979.Google Scholar
Trevilian, Thomas. Manuscript Miscellany. 1608. Washington: Folger Shakespeare Library, V.b.232.Google Scholar
Willis, Jonathan P. Church Music and Protestantism in Post- Reformation England: Discourses, Sites and Identities. Aldershot: Ashgate, 2010.Google Scholar
Wilson, Christopher R., and Calore, Michela. Music in Shakespeare: A Dictionary. London: Thoemmes Continuum, 2005.Google Scholar
Wylde, Jacqueline. “Singing a New Song in The Shoemaker’s Holiday.” Religion and Drama in Early Modern England: The Performance of Religion on the Early Modern Stage. Ed. Degenhardt, Jane and Williamson, Elizabeth. Farnham: Ashgate, 2011. 3953.Google Scholar

Further reading

Austern, Linda. Music in English Children’s Drama of the Later Renaissance. New York: Gordon and Breach, 1992.Google Scholar
Chiasson-Taylor, Rachelle. “Musicians and Intelligence Operations, 1570–1612: Politics, Surveillance, and Patronage in the Late Tudor and Early Stuart Years.” PhD diss., McGill U, 2006.Google Scholar
Dusinberre, Juliet. “Pancakes and a Date for As You Like It.” Shakespeare Quarterly 54 (2003): 371405.CrossRefGoogle Scholar
Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540–1690. Oxford: Clarendon, 1993.Google Scholar
Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.Google Scholar
Lindley, David. “Blackfriars, Music and Masque: Theatrical Contexts of the Last Plays.” The Cambridge Companion to Shakespeare’s Last Plays. Ed. Alexander, Catherine M. S.. Cambridge: Cambridge University Press, 2009. 2945.Google Scholar
Minear, Erin. Reverberating Song in Shakespeare and Milton: Language, Memory, and Musical Representation. Farnham: Ashgate, 2011.Google Scholar
Owens, Jessie Ann, ed. “Noyses, Sounds, and Sweet Aires”: Music in Early Modern England. Washington: Folger Shakespeare Library, 2006.Google Scholar
Smith, Jeremy. Thomas East and Music Publishing in Renaissance England. Oxford: Oxford UP, 2003.Google Scholar
Wilson, Christopher R. Shakespeare’s Musical Imagery. London: Continuum, 2011.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×