By the Shallow Rivers of Babylon: Musical Mashups and the Sound of Lost Music in The Merry Wives of Windsor
InThe Merry Wives of Windsor, there is a humorous sound-based musical moment in act 3, scene 1 that no longer resonates with contemporary audiences; the sounds evoked in the text and intended for performance on the stage have become obsolete. This article begins by investigating the original sounds...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publié: |
2025
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| Dans: |
Renaissance and reformation
Année: 2024, Volume: 47, Numéro: 4, Pages: 121-141 |
| Sujets non-standardisés: | B
Christopher Marlowe
B The Merry Wives of Windsor B English Metrical Psalms B The Whole Book of Psalms B William Shakespeare |
| Accès en ligne: |
Accès probablement gratuit Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Résumé: | InThe Merry Wives of Windsor, there is a humorous sound-based musical moment in act 3, scene 1 that no longer resonates with contemporary audiences; the sounds evoked in the text and intended for performance on the stage have become obsolete. This article begins by investigating the original sounds and meanings of the sonic moment in the play, exploring what they would have sounded like and what they meant to an Elizabethan audience. It then turns to three twentieth- and twenty-first-century productions that have contended with this outdated sonic moment in funny, memorable, and very different ways, asking how new productions can harness new sounds to capture old meanings. |
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| ISSN: | 2293-7374 |
| Contient: | Enthalten in: Renaissance and reformation
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| Persistent identifiers: | DOI: 10.33137/rr.v47i4.45374 |
