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 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 204
... lyrical passage that follows : Return Alpheus , the dread voice is past , That shrunk thy streams ; / Return Sicilian Muse . The general form of the third division of the poem is similar to that of the other two . It opens , as did the ...
... lyrical passage that follows : Return Alpheus , the dread voice is past , That shrunk thy streams ; / Return Sicilian Muse . The general form of the third division of the poem is similar to that of the other two . It opens , as did the ...
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 ...
Contents
A World of Instruments | 1 |
A Book of Knowledge | 21 |
An AntiPythagorean Cross | 126 |
Copyright | |
5 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 described divine Donne doth ecstasy effects Elizabethan emblem emotions Falsirena Ficino George Wither Greek harmony harp heart heaven heavenly Henry Lawes idea imagery imagined influence Italian John John Donne lines Loeb London lute Lycidas lyrical magic masque melodramma melody ment Milton mind monody mood motion move musical drama musical instruments musical sound musician nature Neoplatonic Neoplatonists occult oratorio organ Orpheus parallel passage passion pastoral philosophy Phineas Fletcher Plato Plotinus poem poet Poetical poetry proportion Puritan Pythagorean ravish recitative Renaissance rhythm Richard Crashaw Robert Fludd Rome Samson Agonistes sense seventeenth-century shepherd singing song soul stanza Stefano Landi strings style sung sweet theory things Thomas thought tion Tronsarelli tune universe verse voice words world spirit writing wrote