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Shakespeare and Music / With Illustrations from the Music of the 16th and 17th centuries
Author: Edward W. Naylor Genre: LiteratureShakespeare and Music / With Illustrations from the Music of the 16th and 17th centuries
Terms and
representative passages of Sha
al Education, (3) Songs and Singing, (4) Serenades and other domestic 'Music,' (5) Dances and D
der 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
ay, are so full of musical similes that
e, lin
scord loves no
ss brooks not
mble notes to
ps, when time is
the nig
l, that sing's
rove in my dis
rth weeps at t
ad strain will
groans the d
e I'll hum on
ereus descant's
st a thorn thou
sharp woes
as frets upon
art-strings to tr
, and calls on the nightingale to sing the song of Tereu
ow 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 comp
um' a 'burden' or drone an octave lower than the nightingale's 'descant.' The earliest 'burden' known is that in the
umen in, Lhu
loweth mead and sp
g C
er lomb, lhouth
Buckè verteth,
u, C
cuccu, ne swik
rain 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 refer
e 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 d
losely with what we call 'Strict Counterpoint' (contr
n of decent education could 'bear a part' in those days, i.e., read at sight the treble, alto, tenor,