DOCSLIB.ORG

The Most Insistent Subject of Popular Music": an Exploration of Romeo and Juliet Music Adaptations and Their Expressions of Modern Cultural Issues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Most Insistent Subject of Popular Music Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 4-25-2021 "The Most Insistent Subject of Popular Music": An Exploration of Romeo and Juliet Music Adaptations and Their Expressions of Modern Cultural Issues Gabrielle Sheets [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the American Popular Culture Commons, and the English Language and Literature Commons Repository Citation Sheets, Gabrielle, ""The Most Insistent Subject of Popular Music": An Exploration of Romeo and Juliet Music Adaptations and Their Expressions of Modern Cultural Issues" (2021). Honors Projects. 595. https://scholarworks.bgsu.edu/honorsprojects/595 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. Sheets 1 “The Most Insistent Subject of Popular Music”: An Exploration of Romeo and Juliet Music Adaptations and Their Expressions of Modern Cultural Issues Gabrielle Kristina Sheets A thesis submitted to Bowling Green State University’s Department of English and Honors College for partial fulfillment of the requirements for graduation with the degree of Bachelor of Arts in English (Honors) April 26, 2021 English 4010H Spring 2021 Dr. Stephannie S. Gearhart, Advisor Dr. Matthew Donahue, Secondary Advisor Sheets 2 Table of Contents Abstract 3 Introduction 4 Chapter 1: The Definition of Adaptation as Applied to Shakespeare’s Romeo and Juliet 8 Chapter 2: Why Shakespeare?: Evidence for the Persistent Popularity of Romeo and Juliet 12 Chapter 3: West Side Story’s Cultural Critique through Adaptation 17 Chapter 4: Hopeless Fountain Kingdom’s Feminist Form of Romeo and Juliet 29 Conclusion 39 Works Cited 42 Appendix A: Thesis Proposal 45 Appendix B: Annotated Bibliography and Response Revisited 50 Appendix C: Presentation of Thesis Script 63 Sheets 3 Abstract Shakespeare’s Romeo and Juliet (1597) has been persistently popular throughout history, especially in the modern production of popular music releases. People are often widely familiar with Romeo and Juliet’s usage throughout music. However, the reasoning behind the adaptation of Romeo and Juliet is relatively undiscussed. Romeo and Juliet is a leading symbol of tragic romance, an ever-present topic in popular music. Romeo and Juliet’s canonical qualities lead music artists to adapt the original play since it permits access to an audience that is familiar with the contexts of Shakespeare’s tragedy. This essay also provides a clear definition of “adaptation,” requiring pieces to be extended engagements with a source text and provide their own interpretations of current cultural issues. As a result, the 1961 musical West Side Story and the 2017 studio album Hopeless Fountain Kingdom are examined. West Side Story reinvents the original Romeo and Juliet to express the racism against Puerto Rican immigrants present in 1950s New York. Hopeless Fountain Kingdom reverses the gender roles of the original play and establishes a feminist take on Romeo and Juliet that expresses the fluidity of female sexuality. Romeo and Juliet is adapted so often because it permits adaptors to assert their own stances on current social issues while preserving the canonical qualities of the play. Modern music artists continue to adapt Romeo and Juliet because it allows them to express current cultural tensions, making Romeo and Juliet music adaptations worthwhile reflections of issues that matter to artists and to their audiences. Keywords: Romeo and Juliet, Popular Music, Popular Culture, Adaptation Studies, West Side Story, Halsey Sheets 4 Introduction Despite the original publication of his works taking place hundreds of years ago, William Shakespeare’s plays continue to be omnipresent in today’s culture, especially that of modern popular music. Popular culture and media as a whole embrace the subjects and themes of different Shakespeare writings, but various pieces of music have taken on a particular interest in the sense of tragedy established long ago in one of his most famous plays: Romeo and Juliet. Historically, Romeo and Juliet has provided many music artists with inspiration for their own musical creations. There is the French opera Roméo et Juliette by Charles Gounod and even the orchestral overture by Tchaikovsky of the play’s original name, both created in the late 1800s. The 1957 Broadway musical West Side Story is adapted from the original Romeo and Juliet with an adaptation of its own, West Side Story, the musical film version released in 1961. Then, more recently, there are popular works such as Taylor Swift's Love Story and Halsey’s Hopeless Fountain Kingdom that were created throughout the 2000s. By focusing on some of the more modern aforementioned music adaptations, it is possible to examine Shakespeare’s persistent popularity in current society and how modern music artists use Romeo and Juliet to express their own ideas within popular culture. This relationship between the original Romeo and Juliet and popular music is of particular interest to modern audiences because of the following statement made by R.S. White, a professor of English: “if some person were unaware of its existence as a play by Shakespeare, she or he could be forgiven for thinking that Romeo and Juliet is in essence a musical” since “the most insistent subject of popular music composed for the mass consumption of adolescents in modern times has been melancholy love” (183). The majority of popular music listeners will be unsurprised by the claim that popular music contains the insistent subject of melancholy love that Whites mentions. However, popular music is also a sector of Sheets 5 popular culture containing a plethora of Romeo and Juliet adaptations and direct engagements with Shakespeare’s text. This claim may come as a surprise to modern day listeners and readers since the relationship between Romeo and Juliet and popular music adaptation is relatively unpaved in terms of scholarly discussion. With the examination of modern popular music adaptations of Romeo and Juliet in comparison to the original contexts of Shakespeare’s play, it is clear that Romeo and Juliet is the leading brand for tragic love hence its prevalence in the popular music of today. William Shakespeare’s original tragedy, Romeo and Juliet (1597), takes place in 16th century Verona, Italy. The play focuses on the two lead characters Romeo Capulet and Juliet Montague, two members of opposing families. Even though Romeo and Juliet are raised to hate one another and their family lines, they inevitably fall in love after meeting at a masquerade ball hosted by Juliet’s family, the Capulets. Knowing that both of their families will disapprove of their relationship, Romeo and Juliet contrive an elaborate plan to get married in secret by the authority of a cleric they both know, Friar Laurence. However, despite Romeo and Juliet’s feelings for each other and the advice the friar gives them on avoiding the contestation of their families, their dueling families continue to despise one another. This continual hatred leads to the death of Romeo’s close friend, Mercutio, and then the death of Juliet’s cousin, Tybalt, at the hands of Romeo himself. Following Tybalt’s death, Juliet is distraught, and her father wishes her to marry a suitor, Count Paris, in an effort to make her happy once again. Desperate to avoid being married off to Paris and save her relationship with Romeo, Juliet takes a sleeping potion at the suggestion of Friar Laurence. The intention was to convince the Capulet family that Juliet was dead so that she would not be able to marry Count Paris. Then, Juliet could run away with Romeo once she had awoken. However, Romeo inevitably discovers Juliet’s sleeping body, Sheets 6 believing her to be dead after all. As a result, Romeo dies by suicide, unable to go on with his life without Juliet. Juliet eventually wakes up from the potion’s effects and discovers her lover’s deceased body next to her. Juliet then dies by suicide as well. This left the opposing Capulet and Montague families without a son and daughter, exposing the dangers that their feud brought upon each of their families. The majority of present-day audiences are familiar with the plot, characters, and themes described above because Romeo and Juliet has been adapted and alluded to within popular media for quite some time. This historical reuse of Shakespeare’s tragedy offers an initial introduction as to why it continues to be a worthwhile source of adaptation for popular music artists in particular; however, why has Romeo and Juliet continued to be a leading source of adaptation for so long, especially in popular music? Other than an audience’s recognition of the household name, “Romeo and Juliet,” how is the text expressing the culture and ideals of the 16th century expected to resonate with modern listeners? In short, Shakespeare’s Romeo and Juliet continues to be such a common, recycled source for popular music because it has been established as a symbol/canon that the people of today reuse to convey particular themes and ideas, even when they apply these themes and ideas much differently than the original text. This goes to say that modern day music artists that choose Romeo and Juliet as a source text often do not intend to replicate the text and its implications but use it as a tool to express their own ideas. Thus, the original, Romeo and Juliet, and its cultural implications should not be expected to resonate with modern-day listeners. Instead, modern-day listeners should expect to connect with the new, adapted forms of the text that are presented by those in the popular music industry. The modern-day popular music creators that will be discussed do not adapt William Shakespeare’s Romeo and Juliet merely in the effort to appropriate the play’s popularity or its Sheets 7 expression of 16th century culture.
Load more

Recommended publications
  • Education Pack
    Education Pack 1 Contents Introduction ..................................................................................................................... 3 Section 1: Shakespeare and the Original Twelfth Night ..................................................... 4 William Shakespeare 1564 - 1616 ...................................................................................... 5 Elizabethan and Jacobean Theatre ..................................................................................... 6 Section 2: The Watermill’s Production of Twelfth Night .................................................. 10 A Brief Synopsis .............................................................................................................. 11 Character Map ................................................................................................................ 13 1920s and Twelfth Night.................................................................................................. 14 Meet the Cast ................................................................................................................. 16 Actor’s Blog .................................................................................................................... 20 Two Shows, One Set ........................................................................................................ 24 Rehearsal Diary ............................................................................................................... 26 Rehearsal Reports ..........................................................................................................
    [Show full text]
  • A Distinctive BBC
    A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks.
    [Show full text]
  • 3448 Shakespeare Comedies
    DOST THOU THINK, BECAUSE THOU ART VIRTUOUS, THERE SHALL BE NO MORE CAKES AND ALE? —Twelfth Night, 2.3.106–107 Unit 1—Lesson 1 Twelfth Night INTRODUCTION You’re probably familiar with the Christmas carol “The Twelve Days of Christmas.” These twelve days refer to the twelve days after Christmas, and particularly the twelfth day, which in myth (not in the Bible) is the day when the Magi first saw Jesus. This day (January 6) is also called Epiphany (which means “manifestation”). Shakespeare probably wrote Twelfth Night for an Epiphany celebration; you should not take the title as referring in any way to when the play is set or the passage of time in the play. Although the title does not refer to the setting, in Twelfth Night characters do have revelations or epiphanies. Another reason the title is fitting is that in Elizabethan England, Epiphany was a day of festivals and celebrations. The mood of Twelfth Night is celebratory, and one of the themes of the play is to assert the fundamental goodness of celebration and festival. Those who would interfere with such happiness are either converted from their position or dealt with harshly. WHILE YOU READ Here are some questions to consider while reading the play: What types of love are shown? Who is having fun and who isn’t? Who hides or disguises themselves in some way? Who speaks in prose and who speaks in blank verse? Why do you think that is? 39 Lightning Literature and Composition—Shakespeare: Comedies and Sonnets PLOT SUMMARY 1.1 The duke is pining away for Olivia, who is in mourning for her brother.
    [Show full text]
  • Troye Sivan Announces the Bloom Tour
    TROYE SIVAN ANNOUNCES THE BLOOM TOUR North American Run Kicks Off September 21 And Includes Shows At NYC’s Radio City Music Hall And Los Angeles’ Greek Theatre Ticket Pre-Sale Launches June 5 Via The Troye Sivan App Tickets Go On Sale To General Public Beginning June 8 Pre-Order Underway For Bloom, The Follow-Up To Blue Neighborhood, Set For August 31 Release LOS ANGELES, CA (May 30, 2018) – After teasing information about The Bloom Tour during his appearance on TODAY earlier this week, Troye Sivan revealed the full itinerary today. The North American headline run, produced by Live Nation, will kick off on September 21 in Dallas at the Pavilion at Toyota Music Factory. It will include his first-ever show at New York City’s Radio City Music Hall (October 9) and performances at the Greek Theatre in Los Angeles (October 30) and The Masonic in San Francisco (November 1). See below for itinerary. Fans who download the official Troye Sivan app, available on Apple Store and Google Play, will have access to a chance at advance tickets during the pre-sale, which begins on Tuesday, June 5, at 9:00 AM PT. Exclusive content, merchandise and more will also be available to app users. Tickets go on sale to the general public beginning Friday, June 8, starting at 9:00 AM PT at LiveNation.com and TroyeSivan.com. All tickets for the North American dates will include a CD copy of Troye’s new album, Bloom, which will be released by Capitol Records on August 31.
    [Show full text]
  • The Relevance of Twelfth Night for Adolescents
    Brigham Young University BYU ScholarsArchive Student Works 2012-12-13 The Relevance of Twelfth Night for Adolescents Sarah Monson [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub Part of the Arts and Humanities Commons Intensive reading, discussion, and (in some sections) viewing of plays from the comedy, tragedy, romance, and history genres. BYU ScholarsArchive Citation Monson, Sarah, "The Relevance of Twelfth Night for Adolescents" (2012). Student Works. 104. https://scholarsarchive.byu.edu/studentpub/104 This Class Project or Paper is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Student Works by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Monson 1 Sarah Monson Dr. Burton English 382 December 14, 2012 “Not yet old enough for a man, nor young enough for a boy; as a squash is before „tis a peascod, or a codling when „tis almost an apple: „tis with him in standing water, between boy and man.” (Twelfth Night 1.5.162-165) The Relevance of Twelfth Night for Adolescents For years, Romeo and Juliet has been the standard choice for English teachers of adolescents. However, there are different problems that can potentially arise from teaching this play. For example, the only type of romance explored in the text is forbidden young love that ends in suicide. This should not be the type of romance that young students can relate to as it is not a healthy model to follow. In a report in the Digital Journal Mullins said, “There are times when young lovers who face problems from the outside turn to suicide.
    [Show full text]
  • Troye Sivan Wild
    Wild Troye Sivan Trying hard not to fall On the way home You were trying to wear me down, down Kissing up on fences And up on walls On the way home I guess it’s all working out, now 'Cause there's still too long to the weekend Too long till I drown in your hands Too long since I’ve been a fool Leave this blue neighbourhood Never knew loving could hurt this good And it drives me wild Cause when you look like that I’ve never ever wanted to be so bad It drives me wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You’re driving me wild White noise in my mind Won’t calm down You’re all I think about Running on the music And night highs But when the light’s out It’s me and you now, now ‘Cause there’s still too long to the weekend Too long till I drown in your hands Too long since I’ve been a fool Leave this blue neighbourhood Never knew loving could hurt this good And it drives me wild Cause when you look like that I’ve never ever wanted to be so bad It drives me wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You make my heart shake Bend and break But I can’t turn away And it’s driving me wild You’re driving me wild You make my heart shake Bend and break But I can’t turn away And it’s driving me wild You’re driving me wild Leave this blue neighbourhood Never knew loving could hurt this good And it drives me wild Cause when you look like that I’ve never ever wanted to be so bad It drives me wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild You’re driving me wild, wild, wild Tištěno z pisnicky-akordy.cz Sponzor: www.srovnavac.cz - vyberte si pojištění online! Powered by TCPDF (www.tcpdf.org).
    [Show full text]
  • An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet
    “WITH A KISS I DIE” Love, Suicide and Vulnerability: An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez- Riera Escandón Main supervisor: Domitilla Olivieri (Utrecht University) Support supervisor: María del Carmen Pérez Riu (Universidad de Oviedo) Utrecht University Faculty of Humanities GEMMA Program June 2018 “WITH A KISS I DIE” Love, Suicide and Vulnerability: An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez- Riera Escandón Main supervisor: Domitilla Olivieri (Utrecht University) Support supervisor: María del Carmen Pérez Riu (Universidad de Oviedo) Approval signed main supervisor: Utrecht University Faculty of Humanities GEMMA Program June 2018 " W I T H A K I S S I D I E " LOVE, SUICIDE AND VULNERABILITY An Intersectional Feminist Film Analysis of Romantic Love in Contemporary Adaptations of Romeo and Juliet Raquel Álvarez-Riera Escandón/ Utrecht University/ GEMMA Master Thesis / June 2018 ABSTRACT Deconstructing the myths that characterize the romantic love discourse has been a major goal for several feminist theorists since these narratives actively promote asymmetrical power relationships. From this hierarchy, gender inequalities —which are especially harmful to women—emerge. Nonetheless, this discrimination does not only take place in relation to gender but also regarding race and sexuality. Hence, this study aims to analyse from a feminist and intersectional perspective the oppressive character of romantic love narratives in terms of gender, race and sexuality. The focus will be put particularly in contemporary film adaptations of the canonical play Romeo and Juliet —which is a cornerstone love story in western culture— emphasizing the importance of representations in mass media by pointing at the potential influence that they exercise on the viewers.
    [Show full text]
  • 09-25-2019 Macbeth.Indd
    GIUSEPPE VERDI macbeth conductor Opera in four acts Marco Armiliato Libretto by Francesco Maria Piave production Adrian Noble and Andrea Maffei, based on the play by William Shakespeare set and costume designer Mark Thompson Wednesday, September 25, 2019 lighting designer 8:00–11:10 PM Jean Kalman choreographer Sue Lefton First time this season The production of Macbeth was made possible by a generous gift from Mr. and Mrs. Paul M. Montrone Additional funding was received from Mr. and Mrs. William R. Miller; Hermione Foundation, Laura Sloate, Trustee; and The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund Revival a gift of Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 106th Metropolitan Opera performance of GIUSEPPE VERDI’S macbeth conductor Marco Armiliato in order of appearance macbeth fle ance Plácido Domingo Misha Grossman banquo a murderer Ildar Abdrazakov Richard Bernstein l ady macbeth apparitions Anna Netrebko a warrior Christopher Job l ady-in-waiting Sarah Cambidge DEBUT a bloody child Meigui Zhang** a servant DEBUT Bradley Garvin a crowned child duncan Karen Chia-Ling Ho Raymond Renault DEBUT a her ald malcolm Yohan Yi Giuseppe Filianoti This performance is being broadcast a doctor macduff live on Metropolitan Harold Wilson Matthew Polenzani Opera Radio on SiriusXM channel 75. Wednesday, September 25, 2019, 8:00–11:10PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Verdi’s Macbeth Assistants to the Set Designer Colin Falconer and Alex Lowde Assistant to the Costume Designer Mitchell Bloom Musical Preparation John Keenan, Yelena Kurdina, Bradley Moore*, and Jonathan C.
    [Show full text]
  • Attitudes Toward Love: a Developmental Investigation
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1976 Attitudes Toward Love: A Developmental Investigation Brenda Elizabeth Munro Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Munro, Brenda Elizabeth, "Attitudes Toward Love: A Developmental Investigation" (1976). All Graduate Theses and Dissertations. 2347. https://digitalcommons.usu.edu/etd/2347 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. ATTITUDES TOWARD LOVE : A DEV ELOPMENTAL INVESTIGATION by Brenda Elizabeth Munro A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in Family and Human Development ii Acknowledgments Great appreciation is given to Dr. Ge r ald R. Ad ams my ma jor Professo r with whom I had the privilege of working. His e ndless patience, constructive criticism, knowledge, concern and friendship truly enabled the completion of this thesis. App reciation is also given to Dr. Jay Schvaneveldt, Dr . Charles Johnson, and Dr. Kent Robson for their willingness to review the thesis , g ive suggestions and time to attend meetings. My thanks also goes to my parents Mr. Alex Rausch and Mrs. Esther Rausch for their e ncouragement and he lp now and throughout my e duca­ tion. Also to Mrs. Gail Pede and Mr . Stan Pede, Mr ~ Don Munr o , Mr s .
    [Show full text]
  • A Qualitative Study of Falling in Love
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1988 It happened by "magic": A qualitative study of falling in love Jacqueline L. Gibson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Gibson, Jacqueline L., "It happened by "magic": A qualitative study of falling in love" (1988). Graduate Student Theses, Dissertations, & Professional Papers. 4975. https://scholarworks.umt.edu/etd/4975 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 Th is is an unpublished manuscript in which copyright s u b s i s t s , Any further r e p r in t in g of it s contents must be APPROVED BY THE AUTHOR. Ma n sf ie l d Library Un iv e r s it y of Montana ' Date :____1 9 . 8 J B _______ IT HAPPENED BY "MAGIC": A QUALITATIVE STUDY OF FALLING IN LOVE By Jacqueline L. Gibson B. A., University of Montana, Missoula, 1975 Presented in partial fulfillment of the requirement for the degree of Master of Arts University of Montana 1988 Approved by Chairman, Board of Examiners UMI Number: E P 40439 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Shakespeare in the Music Library (PDF)
    If music be the food of love: Shakespeare in the Music Library An exhibit in commemoration of the 400th anniversary of the death of William Shakespeare Curated and written by John Bewley, Ph.D. Associate Librarian Music Library University at Buffalo April 2016-June 2016 Music provides a kaleidoscopic array of perspectives through which scholars can view the works and influences of William Shakespeare. While many people are familiar with the most famous uses of Shakespeare in music in such works as Tchaikovsky’s Romeo and Juliet Overture-Fantasy, Verdi’s Shakespeare operas (Falstaff, Macbeth, and Otello), Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Prokofiev’s Romeo and Juliet ballet, this exhibit will highlight some of the most significant topics related to the intersections of Shakespeare and music with some lesser-known examples from the holdings of the Music Library. The use of music in Shakespeare’s plays Music plays a significant role in Shakespeare’s plays through three guises: music performed as part of the play, references in the text to song titles, and the use of words with musical connotations. Shakespeare’s use of performed music in his plays was so extensive that only The Comedy of Errors is without music. One of the remarkable aspects of Shakespeare’s use of music is how integral it is to the dramatic structure in the plays. Some of the music serves as a direct part of the action, such as fanfares associated with processions or to mark royal entrances. In other instances Shakespeare used music as an agent for an action, such as when a lullaby is sung to put a character to sleep.
    [Show full text]
  • Shakespeare, Madness, and Music
    45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]