It is hoped that it may be of some use to a large
class of students of Shakespeare who have no opportunity to gather up
the general information which will be found here. The author also
ventures to believe that some brother musicians will be gratified to
see at one view what a liberal treatment the great Poet has given to
our noble art. It will be observed that settings of Shakespearian
Songs of a later date than the generation immediately succeeding
Shakespeare's death are not noticed. The large number of settings of
the 18th century, by such men as Arne, though interesting musically,
have nothing whatever to do with the student of Shakespeare and the
circumstances of his time. It can only be regretted that so much of
the original music seems to have perished.
The author is greatly indebted to Mr Aldis Wright, who has kindly
looked through the work in MS., and contributed one or two interesting
notes, which are acknowledged in the proper place.
LONDON, _March 1896_.
CONTENTS
PAGE
DESCRIPTION OF FRONTISPIECE ix
INTRODUCTORY 1
TECHNICAL TERMS AND INSTRUMENTS 21
MUSICAL EDUCATION 58
SONGS AND SINGING 65
SERENADES AND 'MUSIC' 96
DANCES AND DANCING 113
PYTHAGOREANISM, etc. 152
USE OF MUSICAL STAGE DIRECTIONS 165
APPENDIX 185
DESCRIPTION OF FRONTISPIECE
[Illustration]
[I am indebted for the arrangement of this picture to the kindness of
the authorities at South Kensington Museum, where all these
instruments may be found, except the Pipe and Cornet, which belong to
my friend, Mr W.
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