# Shakespeare and Music

SHAKESPEARE AND MUSlC
WITH ILLUSTRATIONS FROM THE MUSIC
OF THE 16th and 17TH
CENTURIES
BY
EDWARD W. NAYLOR, M.A., Mus. Bac.
LONDON
J. M. DENT & CO., ALDINE HOUSE, E.C.
1896
All rights reserved.
PREFACE
This book contains little that is not tolerably well known both to Shakespeare scholars and musicians who have any acquaintance with the history of music. 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
[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. F. H. Blandford.]
In the middle, on table.
Queen Elizabeth's 'Virginal.' Date, latter half of 16th century. Outside of case (not visible in picture) covered with red velvet. Inside finely decorated. Has three locks. Is more properly a Spinet, the case not being square, but of the usual Spinet shape—viz., one long side (front view), and four shorter ones forming a rough semi-circle at back.
Top row, counting from the right.
1. Tabor-pipe. Modern, but similar to the Elizabethan instrument. French name, 'galoubet.' Merely a whistle, cylindrical bore, and 3 holes, two in front, one (for thumb) behind. The scale is produced on the basis of the 1st harmonic—thus 3 holes are sufficient. It was played with left hand only, the tabor being hung to the left wrist, and beaten with a stick in the right hand. Length over all of pipe in picture, 1 ft. 2½ in.; speaking length, 1 ft 1⅛ in.; lowest note in use, B flat above treble staff. ​Mersennus (1648), however, says the tabor-pipe was in G, which makes it larger than the one in the picture. A contemporary woodcut (in Calmour's 'Fact and Fiction about Shakespeare') of William Kemp, one of Shakespeare's fellow-actors, dancing the Morris, to tabor and pipe, makes the pipe as long as from mouth to waist—viz., about 18 inches, which agrees with Mersennus. A similar woodcut in 'Orchésographie' makes the pipe even longer. Both represent pipe as conical, like oboe. The length of the tabor, in these two woodcuts, seems to be about 1 ft. 9 in., and the breadth, across the head, 9 or 10 in. No snare in the English woodcut, but the French one has a snare.
2. Cornet (treble), date 16th or 17th century. Tube slightly curved, external shape octagonal, bore conical. Cupped mouthpiece of horn, 6 holes, and one behind for thumb. Lowest note, A under treble staff.
3. Recorder. Large beak-flute of dark wood. Three joints, not including beak. The beak has a hole at the back, covered with a thin skin, which vibrates and gives a slight reediness to the tone. The usual 6 finger holes in front, a thumb hole behind, and a right-or-left little-finger hole in lowest joint.
4. Small French Treble Viol, 17th century. Back view, same shape as of all other viols of whatever size. 6 strings, 4 frets.
5. Treble Viol, as used in England and Italy; label inside—Andreas (?) Amati, Cremona, 1637. Side ​view, shews carved head and flat back. 6 strings, 4 frets, ivory nut.
6. Tenor Viol. English, late 17th century. Front view, shewing sloping shoulders. 6 strings, 7 frets, plain head.
7. Viol de Gamba Bow. Ancient shape. No screw. This shape in use later than 1756.
8. Violoncello Bow. Modern shape, with screw.
Bottom row, counting from left.
1. Bass Viol, or Viol de Gamba, or Division Viol. Italian, 1600. Carved head, inlaid fingerboard, carved and inlaid tailpiece. 6 strings, 7 frets.
2. Lute. Italian, 1580. Three plain holes in belly, obliquely. Ornamental back. Flat head. Pegs turned with key from behind. 12 strings—viz., 1 single (treble), 4 doubles, 1 single, and 2 singles off the fingerboard (basses). 10 frets.
3. Arch Lute. Italian, 17th century. 18 strings, 8 on lower neck, 10 on higher, off the fingerboard. The latter are 'basses,' and probably half of them duplicates. 7 frets on neck, 5 more on belly.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1934, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 89 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse