Robert Armin and Shakespeare's Performed Songs (Record no. 6876)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 03141 a2200421 4500 |
| 001 - CONTROL NUMBER | |
| control field | 1317055985 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250317111633.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 250312042017GB 48 eng |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781317055983 |
| 037 ## - SOURCE OF ACQUISITION | |
| Source of stock number/acquisition | Taylor & Francis |
| Terms of availability | GBP 42.99 |
| Form of issue | BB |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | 01 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | eng |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | DDA |
| Source | thema |
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| Subject category code | DSB |
| Source | thema |
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| Subject category code | AVLA |
| Source | thema |
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| Subject category code | ATD |
| Source | thema |
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| Subject category code | 1DDU |
| Source | bisac |
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| Subject category code | 6MB |
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| Subject category code | 6RC |
| Source | bisac |
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| Subject category code | DDS |
| Source | bic |
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| Subject category code | DSBD |
| Source | bic |
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| Subject category code | AVGC2 |
| Source | bic |
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| Subject category code | AN |
| Source | bic |
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| Subject category code | 1DBK |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | LIT013000 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | DRA010000 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | MUS037030 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | LIT000000 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | LIT004120 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | LIT011000 |
| Source | bisac |
| 072 7# - SUBJECT CATEGORY CODE | |
| Subject category code | 822.3 |
| Source | bisac |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Catherine A. Henze |
| 245 10 - TITLE STATEMENT | |
| Title | Robert Armin and Shakespeare's Performed Songs |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 1 |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Place of publication, distribution, etc. | Oxford |
| Name of publisher, distributor, etc. | Routledge |
| Date of publication, distribution, etc. | 20170626 |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 218 p |
| 520 ## - SUMMARY, ETC. | |
| Expansion of summary note | After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing , Twelfth Night, Hamlet , and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays’ songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs , written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama. |
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