000 03903nam a22005655i 4500
001 197421
003 IT-RoAPU
005 20221214233004.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 220302t20112011nyu fo d z eng d
019 _a(OCoLC)961505903
020 _a9780801449314
_qprint
020 _a9780801460920
_qPDF
024 7 _a10.7591/9780801460920
_2doi
035 _a(DE-B1597)9780801460920
035 _a(DE-B1597)478536
035 _a(OCoLC)813376185
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPR3034
_b.O78 2016
072 7 _aLIT015000
_2bisacsh
082 0 4 _a822.33
_223
084 _aonline - DeGruyter
100 1 _aOrtiz, Joseph M.
_eautore
245 1 0 _aBroken Harmony :
_bShakespeare and the Politics of Music /
_cJoseph M. Ortiz.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2011]
264 4 _c©2011
300 _a1 online resource (280 p.) :
_b6 halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tAcknowledgments --
_tIntroduction. Disciplining Music --
_t1. Titus Andronicus and the Production of Musical Meaning --
_t2. "Her speech is nothing": Mad Speech and the Female Musician --
_t3. Teaching Music: The Rule of Allegory --
_t4. Impolitic Noise: Resisting Orpheus from Julius Caesar to The Tempest --
_t5. Shakespeare's Idolatry: Psalms and Hornpipes in The Winter's Tale --
_t6. The Reforming of Reformation: Milton's A Maske --
_tSelected Bibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aMusic 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.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aMusic in literature.
650 4 _aArt History.
650 4 _aMedieval & Renaissance Studies.
650 4 _aMusical Arts & Ethnomusicology.
650 7 _aLITERARY CRITICISM / Shakespeare.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9780801460920
856 4 0 _uhttps://www.degruyter.com/isbn/9780801460920
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780801460920/original
942 _cEB
999 _c197421
_d197421