THE SOURCES OF MUSICAL SETTINGS OF THOMAS CAREW'S POETRY
Identifieur interne : 000295 ( Main/Exploration ); précédent : 000294; suivant : 000296THE SOURCES OF MUSICAL SETTINGS OF THOMAS CAREW'S POETRY
Auteurs : Scott Nixon [Royaume-Uni]Source :
- The Review of English Studies [ 0034-6551 ] ; 1998.
English descriptors
- Entity :
- pers : A. Aihbec, Court Music, E. B. Jorgens, Henry Lawes, I. Poems, Ian Spink, Peter Beal, R. Dunkp, Thomas Carew.
- Teeft :
- Anon, Aske, Ayres, Beauty pride, Bestowes, Bodleian, Bodleian library, British library, Carew, Caroline lyric, Celia, Chan, Chapel royal, Cheeke, Datable, Deare, Deare love, Deckt, Declamatory, Disdaine, Dunlap, Edward lowe, Egerton, English court music, English song, Facsimile, Fayre, Feare, First line, Flye, Gower, Harke, Henry autograph, Henry lame, Henry lawes, John playford, John wilson, Jorgens, Lame, Lanier, Large number, Lawes, Lawes brother, Love bestowes, Lover name, Lute, Main source, Manuscript, Marke, Masque, Mine eye, Miscellany, More disdaine, More love, More whither, Musical setting, Musical source, Musick, Nicholas lanier, Noone, Noone displayes, Particular poem, Playford, Private musick, Privy chamber, Quick spirit, Reveale, Rosie, Rosie cheeke, Same time, Scott nixon, Smooth tale, Spink, Stanza, Textual, Textual criticism, Theorbo, Thomas carew, Thomas poetry, Vaine, Verse miscellany, Walter porter, Webb, Weepe, William lawes, William webb.
Abstract
This article draws upon and attempts to synthesize some of the recent work on manuscript sources of seventeenth-century song and verse, with particular focus on the musical settings of the poetry of Thomas Carew (?1595–1639/40). The first and largest part is devoted to describing the sources for those settings, listing the poems which were set to music, and outlining the number and type of settings. The aim is to provide reference material for future research into the relationship between poetry and music in this period, and at the same time to generate, through this focus on Carew, some sense of the extent and nature of that relationship. An image emerges of the court of Charles I as a site where musicians and poets worked in parallel to, and in partnership with, each other, developing English counterparts to Italian models. The article further attempts to assess the nature and importance of the role that song-books played in the publication of Carew's poetry, and to consider the interchange of lyrics between song-books and verse miscellanies. This leads into an examination of the importance of Henry Lawes's autograph song-book for both textual and literary criticism of Carew's poetry.
Url:
DOI: 10.1093/res/49.196.424
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
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<front><div type="abstract">This article draws upon and attempts to synthesize some of the recent work on manuscript sources of seventeenth-century song and verse, with particular focus on the musical settings of the poetry of Thomas Carew (?1595–1639/40). The first and largest part is devoted to describing the sources for those settings, listing the poems which were set to music, and outlining the number and type of settings. The aim is to provide reference material for future research into the relationship between poetry and music in this period, and at the same time to generate, through this focus on Carew, some sense of the extent and nature of that relationship. An image emerges of the court of Charles I as a site where musicians and poets worked in parallel to, and in partnership with, each other, developing English counterparts to Italian models. The article further attempts to assess the nature and importance of the role that song-books played in the publication of Carew's poetry, and to consider the interchange of lyrics between song-books and verse miscellanies. This leads into an examination of the importance of Henry Lawes's autograph song-book for both textual and literary criticism of Carew's poetry.</div>
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