I Have Both the Note, and Dittie About Me
Bibliographic Data
| ID | 3126774 |
|---|---|
| Authors | Tiffany Stern (corresponding author) |
| Year | 2011 |
| Volume | 17 |
| Issue | 2 |
| Pages | 306-320 |
| Publication date | 2011-04-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Common Knowledge (JOURNAL) |
| Journal identifiers | ISSN: 0961-754X • E-ISSN: 1538-4578 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/0961754x-1187995 |
| OpenAlex | W2126952224 |
| Language | EN |
| Citations received | 1 |
| References cited | 2 |
Songs in early modern playbooks-printed books of the plays of Shakespeare and other authors-differ from the surrounding dialogue in a number of ways. They are often in italic though the dialogue tends to be in roman lettering; and they are frequently topped with the heading "Song," self-evident information that is a statement rather than a stage direction. On other occasions, songs are missing from the text altogether, leaving a stranded heading, "Song," though no words are supplied at all. This article asks why it is that songs have a different story from their surrounding dialogue. In so doing, it considers how playwrights conveyed their songs to composers and composers conveyed their songs to player-singers. Moments of textual oddity in printed and manuscript plays, it is argued (with numerous examples), are revelatory about performance even when the songs themselves are absent from the text
Art · Geography · Lettering · Linguistics · Literature · Visual arts · Historical Influence and Diplomacy · History · Philosophy · Renaissance Literature and Culture
| Citations per year | 0.1 |
|---|---|
| Citation span | 2016 - 2016 (1) |
| Highly cited | No |