Musical Backgrounds for English Literature: 1580-1650Rutgers University Press, 1962 - 292 pages The author traces the history of metaphysical ideas about music and explores the place of these in the poetry of Milton. |
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Page 202
... recitative , with the variety in style that recitative permits . There are no arias and no parts that would naturally be sung by a chorus . As a result , it is less melodic than the first . The speaker is still the shepherd , but his ...
... recitative , with the variety in style that recitative permits . There are no arias and no parts that would naturally be sung by a chorus . As a result , it is less melodic than the first . The speaker is still the shepherd , but his ...
Page 207
... recitative also contributes to such a feel- ing . The prologue , especially , has an oratorical style which would be entirely out of keeping except in a formal dramatic presentation . Such a narrative song as that of the shepherd ...
... recitative also contributes to such a feel- ing . The prologue , especially , has an oratorical style which would be entirely out of keeping except in a formal dramatic presentation . Such a narrative song as that of the shepherd ...
Page 208
... recitative or semi - recitative by one of a group of shepherds or nymphs , and of choruses by the rest of the group . The plot then proceeds in this pastoral setting and is unfolded by a series of arias and passages in recitative , with ...
... recitative or semi - recitative by one of a group of shepherds or nymphs , and of choruses by the rest of the group . The plot then proceeds in this pastoral setting and is unfolded by a series of arias and passages in recitative , with ...
Contents
A World of Instruments | 1 |
A Book of Knowledge | 21 |
A Religious Controversy | 47 |
Copyright | |
6 other sections not shown
Other editions - View all
Musical Backgrounds for English Literature: 1580-1650 (Classic Reprint) Gretchen Ludke Finney No preview available - 2018 |
Common terms and phrases
Adonis ancient Aristotle ayre beauty Ben Jonson body breath catena d'Adone celestial century chap choral chorus church classical Comus concord cosmic d'Orfeo dance demons divine doth ecstasy effects Elizabethan emblem emotions Falsirena Ficino George Wither Greek harmony harp heart heaven heavenly Henry ibid idea imagery imagined influence instrumental music Italian John Donne John Milton Jonson lines Loeb London lute Lycidas magic masque melodramma melody ment metaphysical Milton mind monody motion move musical drama musical instruments musical sound musician nature Neoplatonic Neoplatonists oratorio organ Orpheus Oxford Passions pastoral Phineas Fletcher Plato Plotinus poem poet Poetical poetry proportion Puritan Pythagorean ravish recitative Renaissance rhythm Robert Fludd Rome Samson Agonistes sense seventeenth-century singing sixteenth song soul speech stanza Stefano Landi strings style sung sweet theory things Thomas Thomas Campion thought Timaeus tion tune universe verse voice voyce words world spirit writers wrote