Shakespeare, music and performance / edited by Bill Barclay, David Lindley.

Online resource; title from PDF title page (EBSCO, viewed April 17, 2017).

Includes bibliographical references and index.

Cover ; Half-title page; Title page; Copyright page; Contents; List of Illustrations, Tables and Music Examples; List of Contributors; Acknowledgements; Introduction; Chapter 1 Theatre Bands and Their Music in Shakespeare's London; Chapter 2 The Many Performance Spaces for Music at Jacobean Indoor Playhouses; Chapter 3 In Practice I: Original Practices and Historical Music in the Globe's London and Broadway Productions of Twelfth Night and Richard III; Chapter 4 Ophelia's Songspace: Élite Female Musical Performance and Propriety on the Elizabethan and Jacobean Stage.

Chapter 5 Jangling Bells Inside and Outside the PlayhouseChapter 6 Music, Its Histories, and Shakespearean (Inter- ) Theatricality in Beaumont's: Knight of the Burning Pestle; Chapter 7 Changing Musical Practices in the Shakespearean Playhouse, 1620-42; Chapter 8 In Practice II: Adapting a Restoration Adaptation -- The Tempest, or the Enchanted Island; Chapter 9 The Reception and Re-Use of Thomas Arne's Shakespeare Songs of 1740-1; Chapter 10 Processing with Shakespeare on the Eighteenth-Century London Stage; Chapter 11 The Music for Henry V in Victorian Productions by Kean and Calvert.

Chapter 12 In Practice III: Listening to the Pictures -- an Interview with Composer Stephen WarbeckChapter 13 Film, Music and Shakespeare: Walton and Shostakovich; Chapter 14 Music in Contemporary Shakespearean Cinema; Chapter 15 The Politics of Popular Music in Contemporary Shakespearean Performance; Chapter 16 In Practice IV: 'Sounds Like' -- Making Music on Shakespeare's Stage Today; Chapter 17 Music in the 2012 Globe-to-Globe Festival; Index.

This volume traces the uses of music in Shakespearean performance from the first Globe and Blackfriars to contemporary, global productions.

eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - Worldwide