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Home :: Archive :: 1997 :: May ::
Re: Music/Shakespeare
The Shakespeare Conference: SHK 8.0591.  Friday, 23 May 1997.

[1]     From:   Harry Hill <
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        Date:   Thursday, 22 May 1997 11:17:34 +0000 (HELP)
        Subj:   Re: SHK 8.0588  Re: Music

[2]     From:   Juul Muller-van Santen <
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        Date:   Thursday, 22 May 1997 19:17:52
        Subj:   Re: SHK 8.0584  Re: Music/Shakespeare


[1]-----------------------------------------------------------------
From:           Harry Hill <
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Date:           Thursday, 22 May 1997 11:17:34 +0000 (HELP)
Subject: 8.0588  Re: Music
Comment:        Re: SHK 8.0588  Re: Music

"and the ice-cream ladies started along the isles".....well, this was in
the North-East of Scotland, so we only had aisles. Sorry.

        Harry Hill

[Editor's Note: My apologies to Harry Hill.  I am, in fact, the one
responsible for the interesting textual crux quoted above.  As I was
formatting the entry, I must have hit the delete key one too many times.
As most of you know, SHAKSPER comes to you with editorial intervention,
and with editorial intervention comes the possibility of electronic
transmission errors.  "O brave new world."  --Hardy

PS: If you are interested in what I do to bring you SHAKSPER, you may
want to read my 1997 SAA Paper for The Politics of Electronic Texts
seminar - "The Politics of an Academic Discussion Group."  To retrieve
this essay send the command - GET SAA1997 SHAKSPER - to

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[2]-----------------------------------------------------------------
From:           Juul Muller-van Santen <
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 >
Date:           Thursday, 22 May 1997 19:17:52
Subject: 8.0584  Re: Music/Shakespeare
Comment:        Re: SHK 8.0584  Re: Music/Shakespeare

David Linley is interested in what the music "did" for the plays at
different times, a subject I have addressed re The TEMPEST in the
*Shakespeare Yearbook* for 1994 (ed. Holger Klein, pub. Mellen Press,
Lewiston NY). I share his fascination with the subject and am sure there
is a great deal more to be said about it.

Apart from long arias for Victorian Ariels which must have changed the
characterisation, some of these musics to the plays gave secondary
characters so much to sing that that itself surely changed the balance.
I too wonder why so little is written about this aspect.  Maybe because,
as David Linley writes, so much is unrecoverable.
 

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