Shakespeare and Music / With Illustrations from the Music of the 16th and 17th centuries

Edward W. Naylor

Literature | Completed

5.0

Comment(s)

View

Chapters

Shakespeare and Music / With Illustrations from the Music of the 16th and 17th centuries by Edward W. Naylor

Chapter 1 No.1

08-13 18:29

Chapter 1 No.1

Technical Terms and Instruments

We now proceed to consider some representative passages of Shakespeare which deal with music.

These may be taken roughly in six divisions-viz. (1) Technical Terms and Instruments, (2) Musical Education, (3) Songs and Singing, (4) Serenades and other domestic 'Music,' (5) Dances and Dancing, (6) Miscellaneous, including Shakespeare's account of the more spiritual side of music.

To begin on the first division. There are many most interesting passages which bristle with technical words; and these are liable to be understood by the reader in a merely general way, with the result that the point is wholly or partly missed. With a reasonable amount of explanation, and a general caution to the student not to pass over words or phrases that appear obscure, there is no reason why these passages should not be understood by all in a much fuller light.

The following lines, though not in a play, are so full of musical similes that it may be useful to take them at once.

Lucrece, line 1124.

"My restless discord loves no stops nor rests;

A woful hostess brooks not merry guests.

Relish your nimble notes to pleasing ears;

Distress like dumps, when time is kept with tears."

(Then to the nightingale)-

"Come, Philomel, that sing'st of ravishment,

Make thy sad grove in my dishevell'd hair:

As the dank earth weeps at thy languishment,

So I at each sad strain will strain a tear,

And with deep groans the diapason bear;

For burden wise I'll hum on Tarquin still,

While thou on Tereus descant'st better skill.

"And while against a thorn thou bear'st thy part,

To keep thy sharp woes waking....

These means, as frets upon an instrument,

Shall tune our heart-strings to true languishment."

Here Lucrece tells the birds to cease their joyous notes, and calls on the nightingale to sing the song of Tereus, while she herself bears the 'burden' with her groans.

The first line contains a quibble on 'rests' and 'restless' discord. 'Nimble notes' was used in the Shakespearian time as we should use the term 'brilliant music.' Lucrece was in no humour for trills and runs, but rather for Dumps, where she could keep slow time with her tears. The Dumpe (from Swedish Dialect, dumpa, to dance awkwardly) was a slow, mournful dance. [See Appendix.] There is another quibble in l. 1131, on strain. A 'strain' is the proper Elizabethan word for a formal phrase of a musical composition. For instance, in a Pavan, Morley (Introduction to Practical Music, 1597) says a 'straine' should consist of 8, 12, or 16 semibreves (we should say 'bars' instead of 'semibreves') 'as they list, yet fewer then eight I have not seene in any pauan.'

'Diapason' meant the interval of an octave. Here Lucrece says she will 'bear the diapason' with deep groans, i.e., 'hum' a 'burden' or drone an octave lower than the nightingale's 'descant.' The earliest 'burden' known is that in the ancient Round 'Sumer is icumen in,' of the 13th century. Here four voices sing the real music in canon to these words-

'Sumer is icumen in, Lhudè sing Cuccu,

Groweth seed and bloweth mead and springth the wdè nu,

Sing Cuccu,

Awè bleteth after lomb, lhouth after calvè cu,

Bulluc sterteth, Buckè verteth, murie sing cuccu,

Cuccu, Cuccu,

Wel singès thu cuccu, ne swik thu naver nu.'-

while all the time two other voices of lower pitch sing a monotonous refrain, 'Sing cuccu nu, Sing cuccu,' which they repeat ad infinitum till the four who sing the Round are tired. This refrain is called Pes (or 'foot'), and this is the kind of thing which Lucrece means by 'burden.' The word 'hum' may be considered technical, see the Introduction, where 'buzzing bass' is referred to. The tune, 'Light o' love' [see Appendix], as we know from Much Ado III, iv, 41, used to go without a burden, and was considered a 'light' tune on that account, see Two Gent. I, ii, 80.

'Descant,' in l. 1134, wants explaining. To 'descant' meant to sing or play an extempore second 'part' to a written melody. The point was that it should be extempore; if written down it ceased to be true descant, and was then called 'prick-song.' A rough example may be had in the extempore bass or alto which some people still sing in church instead of the melody. A more accurate example of descant would be this-let A sing a hymn tune, say the Old 100th, and let B accompany him extempore with a separate melody within the bounds of harmony. B is 'descanting' on the melody that A sings.[5]

The art of descant in Elizabeth's time corresponded closely with what we call 'Strict Counterpoint' (contra, punctus, hence 'prick-song,' or 'written' descant).

The modern equivalent for 'bear a part' (l. 1135) is 'sing a part.' [See also Sonnet VIII.] Any person of decent education could 'bear a part' in those days, i.e., read at sight the treble, alto, tenor, or bass 'part' of the work presented by the host for the diversion of his guests. [See Introduction.]