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This book offers a survey of how female and male characters in English Renaissance theatre participated and interacted in musical activities, both inside and outside the contemporary societal decorum. Wong’s analysis broadens our understanding of the general theatrical representation of music, or musical dramaturgy, and complicates the current discussion of musical portrayal and construction of gender during this period.
Wong discusses dramaturgical meanings of music and its association with gender, love, and erotomania in Renaissance plays. The negotiation between the dichotomous qualities of the heavenly and the demonic finds extensive application in recent studies of music in early modern English plays. However, while ideological dualities identified in music in traditional Renaissance thinking may seem unequivocal, various musical representations of characters and situations in early modern drama would prove otherwise. Wong, building upon the conventional model of binarism, explores how playwrights created their musical characters and scenarios according to the received cultural use and perception of music, and, at the same time, experimented with the multivalent meanings and significance embodied in theatrical music.
- Sales Rank: #6527826 in Books
- Published on: 2012-11-14
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.10" l, .95 pounds
- Binding: Hardcover
- 232 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
Music is the food of love -- and drama
By Amazon Customer
In this book, Katrine Wong takes a dramaturgical approach towards music in Renaissance drama. By this, she means that she is concerned with some of the material conditions of stage music, such as the availability of strong singers for whom dramatists included songs, or the effects of music "within" on the unfolding of plots. But dramaturgy is not the same as performance history; instead, Wong emphasizes the role that music plays in knitting together the action of plays such as "The Knight of the Burning Pestle," in which the singing Merrythought uses music to call across the two plots of the play. Wong's first chapter looks at women who sing; the second at men who sing; and the third at men and women who sing together, or for whom music is the occasion for amorous interactions, including their opposed responses to the same song. The focus is on non-Shakespearean drama, and on an episodic and horizontal scanning of plays for their musical moments; this summary approach, however, does not prevent Wong from providing comprehensive and revelatory readings of plays in which music dominates, including Fletcher and Rowley's "The Maid in the Mill," Brome's "The Jovial Crew" and Heywood's "Rape of Lucrece." This is a highly commendable first book by a promising young scholar well-versed in both Renaissance drama and music.
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