Author:
Trudell, Scott A., 1980- author.
Edition Statement:First edition.
ImprintOxford, United Kingdom ; New York, NY : Oxford University Press, 2019.
Descriptionviii, 247 pages : illustrations ; 25 cm
Note:Introduction -- Philip Sidney and musical poesis -- Redefining poetry: mediation in Sidney's "Defence" -- "Theatre public": performance and "Communio" in Sidney's "Arcadia" -- Musical experimentation: William Byrd, "Astrophil and Stella," and Sidneian song -- Echoes of Sidney: the lute song movement and bibliographic performance -- Child singers' mediated bodies -- Musical abuse: the case of Richard Edwards -- Naughty "Putti": John Marston's unsettling choristers -- Jonson's cracks: attenuated bodies in "Cynthia's Revels" and "Epicene" -- Shakespeare's musical thresholds -- "Twelfth Night" and musical paratext -- Performing objects in "A Midsummer Night's Dream" -- "More than matter": Ophelia's Orphic song -- John Milton and musical abjection -- Song and evanescence in "A Maske Presented at Ludlow Castle" -- Milton and the cavaliers: Henry Lawes, Alice Egerton, and interregnum song -- "HIdeous noise": performance anxiety in "Samson Agonistes" and "Paradise Lost" -- Coda: Spenser and the uninvention of literature.
Bibliography Note:Includes bibliographical references (pages 211-236) and index.
Note:This book reveals the impact of vocalists and composers upon the poetic culture of early modern England by studying the media through which - and by whom - its songs were made. In a literary field that was never confined to writing, media were not limited to material texts. The author argues that the media of Renaissance poetry can be conceived as any node of transmission from singer's larynx to actor's body. Through his study of song, the author outlines a new approach to Renaissance poetry and drama that is grounded not simply in performance history or book history but in a more synthetic media history.
