Rachael Durkin is Associate Professor and UKRI Future Leaders Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the history of musical instruments, and musical instruments as material culture in literature, which includes work on the violin in nineteenth-century detective fiction, and the player piano in the writings of William Gaddis. Her book The Viola d’Amore: Its History and Development was published by Routledge in 2020, and she was co-editor of the preceding The Routledge Companion to Music and Modern Literature. She is now working on a monograph on musical instrument innovation of the long eighteenth century. Katharina Clausius is Associate Professor of Comparative Literature and Intermedial Studies at the Université de Montréal in Canada. Bridging musicology, philosophy, and culture studies, her research focuses on the politics of aesthetics in literature, music, and visual art. Recent books include her monograph, Opera and the Politics of Tragedy (University of Rochester), The Routledge Companion to Music and Modern Literature (Routledge), as well as publications on the politics of translation, the philosophy of Jacques Rancière, intermedial modernism, and interwar cultural ideology. Christin Hoene is Assistant Professor in Literary Studies at Maastricht University in the Netherlands. Her research spans modern and contemporary anglophone literature, with a particular focus on postcolonial literature, word and music studies, sound studies, and queer theory. Her current work focuses on the role of music in contemporary queer literature. She is the author of the book Music and Identity in Postcolonial British South-Asian Literature (Routledge, 2015) and co-editor of Asian Sound Cultures (Routledge, 2022).Katherine Butler is Associate Professor and British Academy Mid-Career Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the musical culture of sixteenth- and seventeenth-century England, spanning courtly and popular musics; print, manuscript, and oral circulation; and mythology and early modern science. Her book Music in Elizabethan Court Politics was published with Boydell and Brewer in 2015, and she has also co-edited collections on Music, Myth and Story in Medieval and Early Modern Culture (2019), The Heroic in Music (2022), and Byrd Studies in the Twenty-First Century (2023). She is currently writing a monograph on the social significance of round and catch-singing, c.1550–1650.

"In the wake of The Routledge Companion to Music and Modern Literature (2022), this new volume considers musico-literary production from the period 1500–1800, as well as its contemporary resonances. It is a collection of essays that examines diverse forms of intermedial ‘in-betweenness’ and invites the reader into a fascinating spectrum of encounters between cultures, languages, histories, geographies, and genres. It is a book that will fill a major gap in the field of intermedial studies."Pierre Degott, University of Lorraine, France"A valuable resource for the intermedial study of music and literature, this Companion significantly enhances and develops the work begun in The Routledge Companion to Music and Modern Literature. The collection’s focus on the musico-literary coupling is commendably matched by a sustained concern with the socio-political dynamics of the early modern period, revealing fruitful and fresh perspectives for the project of decolonizing both naïve historical periodization and uncritical inter/disciplinarity. The well-conceived sections of the book—Music and Early Modern Writings, Political Voices, Staging the Early Modern, Early Modern Afterlives—provide a rich and comprehensive panoply of analyses sure to shape future trends in the study of early modern music and literature together." Elicia Clements, Chair of the Department of Humanities and cross-appointed Associate Professor of Humanities and English, York University, Canada

• Prologue: Intermedial Earliness, Part I: Music and Early Modern Writings, Writing the Music of the ‘New World’: Representing Alterity in Early Modern French Accounts of Tupinamba Songs, Translating Echoes: British interpretations of Indian rāgamālā poetry and painting in the eighteenth century, The Spring Grass Studio Anthology of Qin Music and Musical Writings (Chuncaotang qinpu): A Vignette of Music, Prose, and Literati Ideals in Eighteenth-Century Hangzhou, China, Popularising the Morris Dance in William Kemp's Nine Daies Wonder, Thwick-a-thwack: Metallic Music in Early Modern London, Composer Anecdotes and the Musical Press in the Late 18th Century, Pudica Siren: Multilingual Poetic Tributes to the Italian Singer Leonora Baroni in Seicento Rome, Part II: Political Voices, Ballads, Ayres, and Collective Memory in the Performance of Refrains in Early Modern England, Moll Cutpurse, Mad Tom, and the Politics of Noise in Early Modern London, Unsung Songs: Sonic Histories in 'Thomas of Woodstock', Pastoral Allegories in 16th-Century Madrigals: A Symbolic Framework for Crisis and Rebirth, The Medium of Life: Learned Wit in the Catch and Glee Repertoire, Songs as Pornography in Eighteenth-Century England, Part III: Staging the Early Modern, Performing Nothing: Shakespeare Plays with Music, Interweaving Song: Communal Female Singing and Sewing on the Early Modern English Stage, ‘With Tears I Complain about Thee’: Literary Traditions of Lovesickness and Lamenting on the Spanish Musical Stage, Discovery and Disguise: Tracing the Bellman’s Cry in Early Modern English Drama, ‘Listen to the speech of a good orator’: Rhetoric and recitative at the intersection of speech and song, Image, Text, and Sound in Lorenzo da Ponte and Wolfgang Amadeus Mozart’s Così fan tutte (1790), Textual strategies in contemporary Shakespeare opera adaptations: The Tempest (Thomas Adès) and Hamlet (Brett Dean), Part IV: Early Modern Afterlives, ‘I strive thy name to sing’: Music, Metaphor and Meaning in 17th-Century English Devotional Lyrics and their modern afterlives, Paracelsus, Fouqué, Hoffmann: Elemental Spirits and the ‘Quest for Nature’ in German Romantic Literature and Opera, Salon Culture and the Fluid Boundaries of Art in the Early Romantic: The intertwinement of Music and Poetry in Louise Reichardt's Songs, Tolkien, the Gawain-Poet, and Music, ‘Pop Petrarchism’: The Love Songs by The Beatles as a Petrarchan Songbook, As Others See Us: Robert Burns and National Identity in Scottish Folk and Popular Music 1970s-1980s, Back to Bach: Music and Universality in Richard Powers’s The Gold Bug Variations, ‘All sorts of flowers that grow up from the earth': John Darnielle's uses of the past.

Rachael Durkin is Associate Professor and UKRI Future Leaders Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the history of musical instruments, and musical instruments as material culture in literature, which includes work on the violin in nineteenth-century detective fiction, and the player piano in the writings of William Gaddis. Her book The Viola d’Amore: Its History and Development was published by Routledge in 2020, and she was co-editor of the preceding The Routledge Companion to Music and Modern Literature. She is now working on a monograph on musical instrument innovation of the long eighteenth century. Katharina Clausius is Associate Professor of Comparative Literature and Intermedial Studies at the Université de Montréal in Canada. Bridging musicology, philosophy, and culture studies, her research focuses on the politics of aesthetics in literature, music, and visual art. Recent books include her monograph, Opera and the Politics of Tragedy (University of Rochester), The Routledge Companion to Music and Modern Literature (Routledge), as well as publications on the politics of translation, the philosophy of Jacques Rancière, intermedial modernism, and interwar cultural ideology. Christin Hoene is Assistant Professor in Literary Studies at Maastricht University in the Netherlands. Her research spans modern and contemporary anglophone literature, with a particular focus on postcolonial literature, word and music studies, sound studies, and queer theory. Her current work focuses on the role of music in contemporary queer literature. She is the author of the book Music and Identity in Postcolonial British South-Asian Literature (Routledge, 2015) and co-editor of Asian Sound Cultures (Routledge, 2022).Katherine Butler is Associate Professor and British Academy Mid-Career Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the musical culture of sixteenth- and seventeenth-century England, spanning courtly and popular musics; print, manuscript, and oral circulation; and mythology and early modern science. Her book Music in Elizabethan Court Politics was published with Boydell and Brewer in 2015, and she has also co-edited collections on Music, Myth and Story in Medieval and Early Modern Culture (2019), The Heroic in Music (2022), and Byrd Studies in the Twenty-First Century (2023). She is currently writing a monograph on the social significance of round and catch-singing, c.1550–1650.

"In the wake of The Routledge Companion to Music and Modern Literature (2022), this new volume considers musico-literary production from the period 1500–1800, as well as its contemporary resonances. It is a collection of essays that examines diverse forms of intermedial ‘in-betweenness’ and invites the reader into a fascinating spectrum of encounters between cultures, languages, histories, geographies, and genres. It is a book that will fill a major gap in the field of intermedial studies."Pierre Degott, University of Lorraine, France"A valuable resource for the intermedial study of music and literature, this Companion significantly enhances and develops the work begun in The Routledge Companion to Music and Modern Literature. The collection’s focus on the musico-literary coupling is commendably matched by a sustained concern with the socio-political dynamics of the early modern period, revealing fruitful and fresh perspectives for the project of decolonizing both naïve historical periodization and uncritical inter/disciplinarity. The well-conceived sections of the book—Music and Early Modern Writings, Political Voices, Staging the Early Modern, Early Modern Afterlives—provide a rich and comprehensive panoply of analyses sure to shape future trends in the study of early modern music and literature together." Elicia Clements, Chair of the Department of Humanities and cross-appointed Associate Professor of Humanities and English, York University, Canada

• Prologue: Intermedial Earliness, Part I: Music and Early Modern Writings, Writing the Music of the ‘New World’: Representing Alterity in Early Modern French Accounts of Tupinamba Songs, Translating Echoes: British interpretations of Indian rāgamālā poetry and painting in the eighteenth century, The Spring Grass Studio Anthology of Qin Music and Musical Writings (Chuncaotang qinpu): A Vignette of Music, Prose, and Literati Ideals in Eighteenth-Century Hangzhou, China, Popularising the Morris Dance in William Kemp's Nine Daies Wonder, Thwick-a-thwack: Metallic Music in Early Modern London, Composer Anecdotes and the Musical Press in the Late 18th Century, Pudica Siren: Multilingual Poetic Tributes to the Italian Singer Leonora Baroni in Seicento Rome, Part II: Political Voices, Ballads, Ayres, and Collective Memory in the Performance of Refrains in Early Modern England, Moll Cutpurse, Mad Tom, and the Politics of Noise in Early Modern London, Unsung Songs: Sonic Histories in 'Thomas of Woodstock', Pastoral Allegories in 16th-Century Madrigals: A Symbolic Framework for Crisis and Rebirth, The Medium of Life: Learned Wit in the Catch and Glee Repertoire, Songs as Pornography in Eighteenth-Century England, Part III: Staging the Early Modern, Performing Nothing: Shakespeare Plays with Music, Interweaving Song: Communal Female Singing and Sewing on the Early Modern English Stage, ‘With Tears I Complain about Thee’: Literary Traditions of Lovesickness and Lamenting on the Spanish Musical Stage, Discovery and Disguise: Tracing the Bellman’s Cry in Early Modern English Drama, ‘Listen to the speech of a good orator’: Rhetoric and recitative at the intersection of speech and song, Image, Text, and Sound in Lorenzo da Ponte and Wolfgang Amadeus Mozart’s Così fan tutte (1790), Textual strategies in contemporary Shakespeare opera adaptations: The Tempest (Thomas Adès) and Hamlet (Brett Dean), Part IV: Early Modern Afterlives, ‘I strive thy name to sing’: Music, Metaphor and Meaning in 17th-Century English Devotional Lyrics and their modern afterlives, Paracelsus, Fouqué, Hoffmann: Elemental Spirits and the ‘Quest for Nature’ in German Romantic Literature and Opera, Salon Culture and the Fluid Boundaries of Art in the Early Romantic: The intertwinement of Music and Poetry in Louise Reichardt's Songs, Tolkien, the Gawain-Poet, and Music, ‘Pop Petrarchism’: The Love Songs by The Beatles as a Petrarchan Songbook, As Others See Us: Robert Burns and National Identity in Scottish Folk and Popular Music 1970s-1980s, Back to Bach: Music and Universality in Richard Powers’s The Gold Bug Variations, ‘All sorts of flowers that grow up from the earth': John Darnielle's uses of the past.

Rachael Durkin is Associate Professor and UKRI Future Leaders Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the history of musical instruments, and musical instruments as material culture in literature, which includes work on the violin in nineteenth-century detective fiction, and the player piano in the writings of William Gaddis. Her book The Viola d’Amore: Its History and Development was published by Routledge in 2020, and she was co-editor of the preceding The Routledge Companion to Music and Modern Literature. She is now working on a monograph on musical instrument innovation of the long eighteenth century. Katharina Clausius is Associate Professor of Comparative Literature and Intermedial Studies at the Université de Montréal in Canada. Bridging musicology, philosophy, and culture studies, her research focuses on the politics of aesthetics in literature, music, and visual art. Recent books include her monograph, Opera and the Politics of Tragedy (University of Rochester), The Routledge Companion to Music and Modern Literature (Routledge), as well as publications on the politics of translation, the philosophy of Jacques Rancière, intermedial modernism, and interwar cultural ideology. Christin Hoene is Assistant Professor in Literary Studies at Maastricht University in the Netherlands. Her research spans modern and contemporary anglophone literature, with a particular focus on postcolonial literature, word and music studies, sound studies, and queer theory. Her current work focuses on the role of music in contemporary queer literature. She is the author of the book Music and Identity in Postcolonial British South-Asian Literature (Routledge, 2015) and co-editor of Asian Sound Cultures (Routledge, 2022).Katherine Butler is Associate Professor and British Academy Mid-Career Fellow in History and Music at Northumbria University in Newcastle Upon Tyne, England. Her research focuses on the musical culture of sixteenth- and seventeenth-century England, spanning courtly and popular musics; print, manuscript, and oral circulation; and mythology and early modern science. Her book Music in Elizabethan Court Politics was published with Boydell and Brewer in 2015, and she has also co-edited collections on Music, Myth and Story in Medieval and Early Modern Culture (2019), The Heroic in Music (2022), and Byrd Studies in the Twenty-First Century (2023). She is currently writing a monograph on the social significance of round and catch-singing, c.1550–1650.

"In the wake of The Routledge Companion to Music and Modern Literature (2022), this new volume considers musico-literary production from the period 1500–1800, as well as its contemporary resonances. It is a collection of essays that examines diverse forms of intermedial ‘in-betweenness’ and invites the reader into a fascinating spectrum of encounters between cultures, languages, histories, geographies, and genres. It is a book that will fill a major gap in the field of intermedial studies."Pierre Degott, University of Lorraine, France"A valuable resource for the intermedial study of music and literature, this Companion significantly enhances and develops the work begun in The Routledge Companion to Music and Modern Literature. The collection’s focus on the musico-literary coupling is commendably matched by a sustained concern with the socio-political dynamics of the early modern period, revealing fruitful and fresh perspectives for the project of decolonizing both naïve historical periodization and uncritical inter/disciplinarity. The well-conceived sections of the book—Music and Early Modern Writings, Political Voices, Staging the Early Modern, Early Modern Afterlives—provide a rich and comprehensive panoply of analyses sure to shape future trends in the study of early modern music and literature together." Elicia Clements, Chair of the Department of Humanities and cross-appointed Associate Professor of Humanities and English, York University, Canada

• Prologue: Intermedial Earliness, Part I: Music and Early Modern Writings, Writing the Music of the ‘New World’: Representing Alterity in Early Modern French Accounts of Tupinamba Songs, Translating Echoes: British interpretations of Indian rāgamālā poetry and painting in the eighteenth century, The Spring Grass Studio Anthology of Qin Music and Musical Writings (Chuncaotang qinpu): A Vignette of Music, Prose, and Literati Ideals in Eighteenth-Century Hangzhou, China, Popularising the Morris Dance in William Kemp's Nine Daies Wonder, Thwick-a-thwack: Metallic Music in Early Modern London, Composer Anecdotes and the Musical Press in the Late 18th Century, Pudica Siren: Multilingual Poetic Tributes to the Italian Singer Leonora Baroni in Seicento Rome, Part II: Political Voices, Ballads, Ayres, and Collective Memory in the Performance of Refrains in Early Modern England, Moll Cutpurse, Mad Tom, and the Politics of Noise in Early Modern London, Unsung Songs: Sonic Histories in 'Thomas of Woodstock', Pastoral Allegories in 16th-Century Madrigals: A Symbolic Framework for Crisis and Rebirth, The Medium of Life: Learned Wit in the Catch and Glee Repertoire, Songs as Pornography in Eighteenth-Century England, Part III: Staging the Early Modern, Performing Nothing: Shakespeare Plays with Music, Interweaving Song: Communal Female Singing and Sewing on the Early Modern English Stage, ‘With Tears I Complain about Thee’: Literary Traditions of Lovesickness and Lamenting on the Spanish Musical Stage, Discovery and Disguise: Tracing the Bellman’s Cry in Early Modern English Drama, ‘Listen to the speech of a good orator’: Rhetoric and recitative at the intersection of speech and song, Image, Text, and Sound in Lorenzo da Ponte and Wolfgang Amadeus Mozart’s Così fan tutte (1790), Textual strategies in contemporary Shakespeare opera adaptations: The Tempest (Thomas Adès) and Hamlet (Brett Dean), Part IV: Early Modern Afterlives, ‘I strive thy name to sing’: Music, Metaphor and Meaning in 17th-Century English Devotional Lyrics and their modern afterlives, Paracelsus, Fouqué, Hoffmann: Elemental Spirits and the ‘Quest for Nature’ in German Romantic Literature and Opera, Salon Culture and the Fluid Boundaries of Art in the Early Romantic: The intertwinement of Music and Poetry in Louise Reichardt's Songs, Tolkien, the Gawain-Poet, and Music, ‘Pop Petrarchism’: The Love Songs by The Beatles as a Petrarchan Songbook, As Others See Us: Robert Burns and National Identity in Scottish Folk and Popular Music 1970s-1980s, Back to Bach: Music and Universality in Richard Powers’s The Gold Bug Variations, ‘All sorts of flowers that grow up from the earth': John Darnielle's uses of the past.