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Broken Harmony : Shakespeare and the Politics of Music / Joseph M. Ortiz.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2011]Copyright date: ©2011Description: 1 online resource (280 p.) : 6 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9780801449314
  • 9780801460920
Subject(s): DDC classification:
  • 822.33 23
LOC classification:
  • PR3034 .O78 2016
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction. Disciplining Music -- 1. Titus Andronicus and the Production of Musical Meaning -- 2. "Her speech is nothing": Mad Speech and the Female Musician -- 3. Teaching Music: The Rule of Allegory -- 4. Impolitic Noise: Resisting Orpheus from Julius Caesar to The Tempest -- 5. Shakespeare's Idolatry: Psalms and Hornpipes in The Winter's Tale -- 6. The Reforming of Reformation: Milton's A Maske -- Selected Bibliography -- Index
Summary: Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music's illegibility rather than come to terms with its actual effects. In Broken Harmony, Joseph M. Ortiz revises our understanding of music's relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged.Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare's plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter's Tale) and Milton's A Maske, Ortiz challenges the consensus that music's affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music's function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780801460920

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction. Disciplining Music -- 1. Titus Andronicus and the Production of Musical Meaning -- 2. "Her speech is nothing": Mad Speech and the Female Musician -- 3. Teaching Music: The Rule of Allegory -- 4. Impolitic Noise: Resisting Orpheus from Julius Caesar to The Tempest -- 5. Shakespeare's Idolatry: Psalms and Hornpipes in The Winter's Tale -- 6. The Reforming of Reformation: Milton's A Maske -- Selected Bibliography -- Index

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http://purl.org/coar/access_right/c_16ec

Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music's illegibility rather than come to terms with its actual effects. In Broken Harmony, Joseph M. Ortiz revises our understanding of music's relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged.Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare's plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter's Tale) and Milton's A Maske, Ortiz challenges the consensus that music's affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music's function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)