Christopher R. Wilson – författare

The Oxford Handbook of Shakespeare and Music showcases the latest international research into the captivating and vast subject of the many uses of music in relation to Shakespeare''s plays and poems, extending from the Bard''s own time to the present day. The coverage is truly global in its scope, with ground-breaking 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 Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed is equally extensive, embracing 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 in tackling their remits: some chapters investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed accounts of representative case studies, situating these firmly in their cultural contexts, or reflecting on the fascinating political and sociological ramifications of the music. As a whole, the Handbook provides a unique and impressively wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music.

The Oxford Handbook of Shakespeare and Music showcases the latest international research into the captivating and vast subject of the many uses of music in relation to Shakespeare''s plays and poems, extending from the Bard''s own time to the present day. The coverage is truly global in its scope, with ground-breaking 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 Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed is equally extensive, embracing 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 in tackling their remits: some chapters investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed accounts of representative case studies, situating these firmly in their cultural contexts, or reflecting on the fascinating political and sociological ramifications of the music. As a whole, the Handbook provides a unique and impressively wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music.

Regarded as one of the most important English music treatises in the seventeenth century, Thomas Campion's A New Way of Making Fowre Parts in Counterpoint reveals progressive ideas about the latent theory of inversions, the fundamental bass, cadences and tonality, and the major-minor octave scale. In this first accurate modern edition of Campion's treatise, Christopher Wilson provides a fully annotated text and a substantial introduction which highlights the historical significance of 'A New Way...' both in its close relationship with Coprario's 'Rules how to Compose' (which is included as an appendix together with commentary and notes) and its unusual debt to German rather than Italian music theory. Wilson presents a persuasive case for viewing the treatise as essentially a very early modern harmony tutor.and its unusual debt to German rather than Italian music theory.

Musical references, allusions to music, and music stage directions abound in Shakespeare, ranging from simple trumpet flourishes to sophisticated, philosophical allegory. Music in Shakespeare: A Dictionary identifies all musical terms found in the Shakespeare canon. An A-Z of over 300 entries includes a definition of each musical term in its historical and theoretical context, and explores the extent of Shakespeare's use of musical imagery across the full range of his dramatic and poetic work. Music in Shakespeare also analyses the usage of musical instruments and sound effects on the Shakespearean stage, providing descriptions of the instruments employed in the Elizabethan and Jacobean theatres. This is a comprehensive reference guide for scholars and students with interests ranging from the thematic and allegorical relevance of music in Shakespeare's works to the history of performance. It is also aimed at the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.

Music pervades Shakespeare''swork. In addition to vocal songs and numerous instrumental cues there arethousands of references to music throughout the plays and many of the poems.This book discusses Shakespeare''s musical imagery according to categories definedby occurrence in the plays and poems. In turn, these categories depend on theirearly modern usage and significance. Thus, instruments such as lute and violdeserve special attention just as Renaissance ideas relating to musicalphilosophy and pedagogical theory need contextual explanation. The objective isto locate Shakespeare''s musical imagery, reference and metaphor in itsimmediate context in a play or poem and explain its meaning. Discussion andexplanation of the musical imagery suggests a range of possible dramatic andpoetic purposes these musical references serve.

Music pervades Shakespeare'swork. In addition to vocal songs and numerous instrumental cues there arethousands of references to music throughout the plays and many of the poems.This book discusses Shakespeare's musical imagery according to categories definedby occurrence in the plays and poems. In turn, these categories depend on theirearly modern usage and significance. Thus, instruments such as lute and violdeserve special attention just as Renaissance ideas relating to musicalphilosophy and pedagogical theory need contextual explanation. The objective isto locate Shakespeare's musical imagery, reference and metaphor in itsimmediate context in a play or poem and explain its meaning. Discussion andexplanation of the musical imagery suggests a range of possible dramatic andpoetic purposes these musical references serve.

With an A-Z of over 300 entries, Music in Shakespeare is the most comprehensive study of all the musical terms found in Shakespeare’s complete works. It includes a definition of each musical term in itshistorical and theoretical context, and explores the diverse extent of musical imagery across the full range of Shakespeare’s dramatic and poetic work, as well as analysing the usage of instruments and sound effects on the Shakespearean stage. This is a comprehensive reference guide for scholars and students with interests in the thematic and allegorical relevance of music in Shakespeare, and the history of performance. Identifying all musical terms found in the Shakespeare canon, it will also be of use to the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.

With an A-Z of over 300 entries, Music in Shakespeare is the most comprehensive study of all the musical terms found in Shakespeare''s complete works. It includes a definition of each musical term in itshistorical and theoretical context, and explores the diverse extent of musical imagery across the full range of Shakespeare''s dramatic and poetic work, as well as analysing the usage of instruments and sound effects on the Shakespearean stage. This is a comprehensive reference guide for scholars and students with interests in the thematic and allegorical relevance of music in Shakespeare, and the history of performance. Identifying all musical terms found in the Shakespeare canon, it will also be of use to the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.

Music pervades Shakespeare's work. In addition to vocal songs and numerous instrumental cues there are thousands of references to music throughout the plays and many of the poems. This book discusses Shakespeare's musical imagery according to categories defined by occurrence in the plays and poems. In turn, these categories depend on their early modern usage and significance. Thus, instruments such as lute and viol deserve special attention just as Renaissance ideas relating to musical philosophy and pedagogical theory need contextual explanation. The objective is to locate Shakespeare's musical imagery, reference and metaphor in its immediate context in a play or poem and explain its meaning. Discussion and explanation of the musical imagery suggests a range of possible dramatic and poetic purposes these musical references serve.

Musical references, allusions to music, and music stage directions abound in Shakespeare, ranging from simple trumpet flourishes to sophisticated, philosophical allegory. Music in Shakespeare: A Dictionary identifies all musical terms found in the Shakespeare canon. An A-Z of over 300 entries includes a definition of each musical term in its historical and theoretical context, and explores the extent of Shakespeare''s use of musical imagery across the full range of his dramatic and poetic work. Music in Shakespeare also analyses the usage of musical instruments and sound effects on the Shakespearean stage, providing descriptions of the instruments employed in the Elizabethan and Jacobean theatres. This is a comprehensive reference guide for scholars and students with interests ranging from the thematic and allegorical relevance of music in Shakespeare''s works to the history of performance. It is also aimed at the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.