Shakespeare and Music - With Illustrations from the Music of the 16th and 17th centuries
Naylor, Edward W. (Edward Woodall), 1867-1934
English
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Below is a summary of 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" formatfor citations to Shakespeare's plays, e.g.:
For clarity, in this e-text the "fractions" have been convertedto a one-line citation, e.g., Rom. III, v, 25(signifying Act III, scene v, line 25). Where the original does notuse 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 inthis e-text.
3. The original text inconsistently uses a breve over the e in"Parthenia" and "Passameso." For clarity, the breve hasbeen removed in this e-text, as it is not part of theusual spelling of these words, and has in fact been omitted from the 1931revised edition of the book.
4. The music images and sound files in this e-text were created using FinaleAllegro 2005. The original text occasionally uses old-style symbols for time signatures andrests; these have been modernized in the images.
[Pg v]
PREFACE
This book contains little that is not tolerably well known both toShakespeare scholars and musicians who have any acquaintance with thehistory of music. It is hoped that it may be of some use to a largeclass of students of Shakespeare who have no opportunity to gather upthe general information which will be found here. The author alsoventures to believe that some brother musicians will be gratified tosee at one view what a liberal treatment the great Poet has given toour noble art. It will be observed that settings of ShakespearianSongs of a later date than the generation immediately succeedingShakespeare's death are not noticed. The large number of settings ofthe 18th century, by such men as Arne, though interesting musically,have nothing whatever to do with the student of Shakespeare and thecircumstances of his time. It can only be regretted [Pg vi]that so much ofthe original music seems to have perished.
The author is greatly indebted to Mr Aldis Wright, who has kindlylooked through the work in MS., and contributed one or two interestingnotes, which are acknowledged in the proper place.
London, March 1896.
[Pg vii]
CONTENTS
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