(CM242: 35 cues) The most recent contribution to the study of the place of music and dance in this play, in David Lindley’s Shakespeare and …
(CM95-6: 89 cues) act scene line Click here to find out more about suggested song I i 0; 49 Alarum. Enter…{with drummers}; Flourish; 206; 273 …
(CM105-6 48 cues) act scene line Click here to find out more about suggested song I i 0; 225 {Flourish}; [Colbrand, the Giant, that same …
(CM93-4: 68 cues) act scene line Click here to find out more about suggested song I i 0 *Flourish of *trumpet; then *hautboys. Royal Wedding …
(CM266: 17 cues); see especially SQ Spring 1959, pp. 161-175; AS (1963) App II, p.172-4 for a discussion of the music and songs. Nosworthy notes …
(CM236: 46 cues); see especially F W Sternfeld Troilus and Cressida: music for the play, pp. 114-5, in English Institute Essays, 1952; ed. by A. …
(CM140: 30 cues) In Act V (‘The Belmont Act’) Shakespeare’s philosophy on the power of music is expounded (cf W7), an Act ‘drenched in moonlight …
(CM91-2: 90 cues). Text has been partly attributed to Thomas Nashe act scene line Click here to find out more about suggested song I i …
By Shakespeare and George Wilkins (CM198: 13 cues). Reconstructed text The un-Shakespearean quality of the first two acts has been noted and are generally accepted …
(CM107-9: 60 cues) This survey refers to the version as printed in the 1623 Folio. The 18 verse snatches are listed as it has been …
(CM207: 17 cues) H. J. Oliver in OS (1982) gives the background to the Music Lesson in III i 45-83, DO 101-2 gives the score …
(CM101: 45 cues) MM175-7 has performance suggestions. Of the many *alarms indicated in the stage directions in Act V, these could be played as confused …
(CM112: 25 cues) Note especially Dinn Music in ‘Love’s Labour lost’ (DM), Maynard on the songs and singers in this play (ME 176-7) and ‘A …
(CM203: 2 cues) SM17 in this play ‘the blaring stridency of military instruments is both self-expression and psychological compensation’. The York Waits have produced an …
(With Fletcher and possibly Massinger) (CM97-8: 47 cues). Original subtitle was ‘All is true’. This is largely a pageant play, in the words of Herbert …
(CM261: 7 cues) SM20 notes that the musicians in the play were adults; SJ3 notes their specific instruments. As well as much allusion to music …
Adapted by Thomas Middleton (CM137: 23 cues). AS2 App2: pp 201-3 The songs, by F.W. Sternfeld. See also David Lindley on the provoking power of …
(CM176: 27 cues) MM178-182 Suggestions for music discussed including ‘Aeirs in 5 parts’ by HOLBORNE. MM182: minimum 7 players: 2-3 bowed strings and one plucked; …
(CM55-6: 62 cues) [See esp. S53-66 and OS (1987): pp. 379-381 App. D. The Music of the Songs, ed. from contemporary material by F.W. Sternfeld …
CM57-75, cues; MM39; special use of trumpets: first use in Acts iv and v. SM19: In this and in Richard II for the first time …
Pozrite si fotky hudobnej skupiny Čibuk. Fanklub Čibuk Viac informácií o fanklube nájdete na stránkach: O skupine Čibuk Diskusia – Čibuk fanklub Fotky – Fanklub …