The Handbook Of Shakespeare Music Being An Account Of Three Hundred And Fifty Pieces Of Music Set To Words Taken From The Plays And Poems Of Shakespeare The Compositions Ranging From The Elizabethan Age To The Present Time

Originally published in 1927, this reference book is a comprehensive guide to the hundreds of musical compositions based on the works of William Shakespeare. From early Elizabethan madrigals to modern opera and ballet, this book provides detailed information on the composers and performers who have set Shakespeare's words to music. This book is an invaluable resource for musicians, scholars, and anyone interested in the intersection of music and literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Handbook of Shakespeare Music, Being an Account of Three Hundred and Fifty Pieces of Music Set to Words Taken From the Plays and Poems of Shakespeare, the Compositions Ranging From the Elizabethan Age to the Present Time The following pages were compiled by the late Mr. Alfred Roffe, an intelligent and enthusiastic student of Shakespeare and of music. He finished the work - a labour of love which had occupied very many of his leisure hours - about twelve years ago, when the MSS. passed into my hands. I had been unable, owing to incessant occupation, to pay much attention to it until recently, when, after more careful perusal, it occurred to me and to some other old friends of the author whom I had an opportunity of consulting, that the volume might possibly be welcomed as a useful and interesting addition to many Shakespearian libraries. Hence its publication. It may be as well to add that I have, in no respect, assumed the functions of an editor. The text and arrangement of the writer have been strictly adhered to, and I have made no attempt to verify his authorities; a task which, knowing so thoroughly the scrupulous accuracy of my late friend, I should have considered needless, even had I possessed sufficient time and aptitude for its accomplishment. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare's plays and poems, the contributors' lines of enquiry extending from the Bard's own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed by the book's team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare's ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts"--

An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator. In four sections, Staging, Actors and Acting, Costume, Music and Dance, it traces Shakespearean production from Elizabethan times to the 1950s when the book was originally published. This book suggests that Shakespeare should be performed today on the type of stage for which his plays were written. It analyses the development of the Elizabethan stage, from crude inn-yard performances to the building and use of the famous Globe. Since the Globe saw the enactment of some of the Bard’s greatest dramas, its construction, properties, stage devices, and sound effects are reviewed in detail with suggestions on how a producer can create the same effects on a modern or reconstructed Elizabethan stage. Shakespeare’s plays were written to fit particular groups of actors. The book gives descriptions of the men who formed the acting companies of Elizabethan London and of the actors of Shakespeare’s own company, giving insights into the training and acting that Shakespeare advocated. With full descriptions and pages of reproductions, the costume section shows the types of dress necessary for each play, along with accessories and trimmings. A table of Elizabethan fabrics and colours is included. The final section explores the little-known and interesting story of the integral part of music and dance in Shakespeare’s works. Scene by scene the section discusses appropriate music or song for each play and supplies substitute ideas for Elizabethan instruments. Various dances are described – among them the pavan, gailliard, canary and courante. This book is an invaluable wealth of research, with extensive bibliographies and extra information.

Reissuing works originally published between 1933 and 1993, Routledge Library Editions: Shakespeare in Performance offers a selection of scholarship on the Bard's work on stage. Classic previously out-of-print works are brought back into print here in this small set of performance history and criticism.