LONDON J.M. DENT & CO., ALDINE HOUSE, E.C. 1896 All rights reserved....

This book contains little that is not tolerably well known both to Shakespeare scholars and musicians who have any acquaintance with the history of music. It is hoped that it may be of some use to a large class of students of Shakespeare who have no opportunity to gather up the general information which will be found here. The author also ventures to believe that some brother musicians will be gratified to see at one view what a liberal treatment the great Poet has given to our noble art. It wil

frontispiece   [I am indebted for the arrangement of this picture to the kindness of the authorities at South Kensington Museum, where all these instruments may be found, except the Pipe and Cornet, which belong to my friend, Mr W.F.H. Blandford.] In the middle, on table. Queen Elizabeth's 'Virginal.' Date, latter half of 16th century. Outside of case (not visible in picture) covered with red velvet. Inside finely decorated. Has three locks. Is more properly a Spinet, the case not being square,

( Temp., 16th and 17th centuries. ) Morley, "Plain and Easy Introduction to Practical Music," 1597, pp. 1 and 2. Here we read of a dinner-party, or "banket," at which the conversation was entirely about music. Also—after supper— according to custom —"parts" were handed round by the hostess. Philomathes has to make many excuses as to his vocal inability, and finally is obliged to confess that he cannot sing at all. At this the rest of the company "wonder"—and some whisper to their neighbours, "Ho

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 a

The following passages give a lively picture of what a music-master might have to put up with from young ladies of quality. Shrew. II, i, 142. Re-enter Hortensio with his head broken. Bap. How now, my friend? why dost thou look so pale? Hor. For fear, I promise you, if I look pale. Bap. What, will my daughter [Kate] prove a good musician? Hor. I think, she'll sooner prove a soldier: Iron may hold her, but never lutes . Bap. Why, then thou canst not break her to the lute? Hor. Why, no, for she ha

It is impossible here to give even an outline of the history of Songs and Singing in England. The general statement must suffice that vocal music, accompanied by viols and harps, with songs and catches, were common in the year 1230 in France; and any reader of Chaucer and Gower may see for himself that vocal music was flourishing in the 14th century in England. The English Round or Catch, mentioned above, 'Sumer is icumen in,' is most probably of the 13th century, and that alone would be suffici

The history of Serenades is as ancient as that of Songs. In the middle of the 15th century, Sebastian Brant, a lawyer, wrote in Dutch his 'Stultifera Navis,' or 'Ship of Fools,' a severe satire on things in general, and popular amusements in particular. The book was afterwards translated into Latin, and thence into English. Here are some of the verses that treat of Serenades in the year 1450. Another verse explains that not only the foolish young men of low birth were given to this practice, but

The history of Dances is the history of the transition from pure vocal music to pure instrumental music. In the Dances of the 16th century, we have the germs of the modern 'Sonata' Form; and in the association of certain of them we have the first attempt at a sequence of different 'movements,' which finally resulted in the Sonata itself. The Elizabethan Dances, especially the Pavan, shew us this development just at the point where instrumental music was dividing itself from vocal. All the ancien

The treatise is written (like Morley's Introduction to Practical Music) in the form of Dialogue between Master (Arbeau) and Pupil (Capriol); and gives a most clear description of all the fashionable dances of the time, as far as words can do it; dance tunes in music type; and incidentally, many instructions as to the manners of good society. As much light is thrown upon the dances which are mentioned in Shakespeare by this book, some of the principal descriptions will be given here, with the pro

A well-known passage in Twelfth Night gives us the Opinion of Pythagoras 'concerning wild-fowl.' The Opinion of Pythagoras 'concerning Music' is at least equally interesting, and is appropriated and assimilated by Shakespeare. The particular branch of the Pythagorean system with which we are concerned, is that which treats of the Music of the Spheres. Besides the two passages here quoted, there are others dealing with this subject— e.g. , Ant. V, ii, 84, 'the tunèd spheres'; Twelf. III, i, 115,

With references to the same Words as they occur in the Text   Alarum , Alarums (of Drums), occurs as a stage direction about 72 times in fourteen of the historical plays, always in connection with battle. It is found alone, as above, about 45 times, sometimes qualified— e.g. , Loud alarum, Low alarum, Short alarum, Alarum within. Alarums and Excursions occurs about 21 times, always in fight. ['Excursions' merely means 'parties of men running about;' see the stage direction H. 6. A. IV, vi. 'Excu

1. Example of Descant [ Lucrece , 1134] from Morley, 1597 (see Introduction , p. 6 and p. 24 ).   music [ Listen ] If the lower part was added extempore , it was called Descant, but if written down as here, it was called Prick-song, because 'pricked' down. The Plain-song is perhaps more often found in a lower part, the Descant being higher. From the position of the added part, the above example is called 'bass' descant. 2. Divisions on a Ground Bass for viol-da-gamba, by Christopher Sympson, 166