Musical Backgrounds for English Literature, 1580-1650Greenwood Press, 1976 - 292 pages
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Page 180
... lyrical and for solo voice ; and Lawes's settings for them are clearly in the Italian style of the time , for they represent a departure from strict recitative - which , as a matter of fact , was never entirely compatible with the ...
... lyrical and for solo voice ; and Lawes's settings for them are clearly in the Italian style of the time , for they represent a departure from strict recitative - which , as a matter of fact , was never entirely compatible with the ...
Page 199
... lyrical . The reader is not told specifically that this second part is sung or spoken by one person . The more general subject , the comment on preceding statement , suggests chorus . These lines could be adjusted to a straight- forward ...
... lyrical . The reader is not told specifically that this second part is sung or spoken by one person . The more general subject , the comment on preceding statement , suggests chorus . These lines could be adjusted to a straight- forward ...
Page 212
... the prologue , is not really a tragedy , nor is it especially somber in mood . Chiabrera's is purely lyrical ; it includes no narrative , no moralizing . But the other two , 212 Musical Backgrounds for English Literature.
... the prologue , is not really a tragedy , nor is it especially somber in mood . Chiabrera's is purely lyrical ; it includes no narrative , no moralizing . But the other two , 212 Musical Backgrounds for English Literature.
Contents
A World of Instruments | 1 |
A Book of Knowledge | 21 |
An AntiPythagorean Cross | 126 |
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 La favola d'Orfeo lines Loeb London lute Lycidas masque melodramma melody ment metaphysical Milton mind monody motion move musical drama musical instruments musical sound musician nature Neoplatonic Neoplatonists oratorio organ Orpheus Oxford passion 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 song soul speech stanza Stefano Landi strings style sung sweet theory things Thomas Thomas Campion thought tion tune universe verse voice voyce words world spirit writers wrote