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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

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Chapter 1 No.1

Word Count: 832    |    Released on: 01/12/2017

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,

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