Broken Harmony , livre ebook

Cornell University Press - M. Ortiz Joseph

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278 pages

English

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Music was a subject of considerable debate during the Renaissance. The notion that music could be interpreted in a meaningful way clashed regularly with evidence that music was in fact profoundly promiscuous in its application and effects. Subsequently, much writing in the period reflects a desire to ward off music's illegibility rather than come to terms with its actual effects. In Broken Harmony, Joseph M. Ortiz revises our understanding of music's relationship to language in Renaissance England. In the process he shows the degree to which discussions of music were ideologically and politically charged.Offering a historically nuanced account of the early modern debate over music, along with close readings of several of Shakespeare's plays (including Titus Andronicus, The Merchant of Venice, The Tempest, and The Winter's Tale) and Milton's A Maske, Ortiz challenges the consensus that music's affinity with poetry was widely accepted, or even desired, by Renaissance poets. Shakespeare more than any other early modern poet exposed the fault lines in the debate about music's function in art, repeatedly staging disruptive scenes of music that expose an underlying struggle between textual and sensuous authorities. Such musical interventions in textual experiences highlight the significance of sound as an aesthetic and sensory experience independent of any narrative function.

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Publié par	Cornell University Press
Date de parution	14 février 2011
Nombre de lectures	0
EAN13	9780801460920
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,7500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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q BROKEN HARMONY

BROKEN HARMONY n S H A K ESP E A R E A N DT HE POL I T I CS OFMUSI C

J o s e p h M . O rt i z

CORNELL UNIVERSITY PRESS Ithaca and London

All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850.

First published 2011 by Cornell University Press

Printed in the United States of America

Library of Congress CataloginginPublication Data Ortiz, Joseph M., 1972– Broken harmony : Shakespeare and the politics of music /Joseph M. Ortiz. p. cm. Includes bibliographical references and index. ISBN 9780801449314 (cloth : alk. paper) 1. Shakespeare, William, 1564–1616—Knowledge— Music. 2. Shakespeare, William, 1564–1616—Criticism and interpretation. 3. Music in literature. I. Title. PR3034.O78 2011 822.3'3—dc22 2010035502

Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent pos sible in the publishing of its books. Such materials include vegetablebased, lowVOC inks and acidfree papers that are recycled, totally chlorinefree, or partly composed of nonwood fibers. For further information, visit our website at www.cornellpress.cornell.edu.

Cloth printing

10 9 8 7 6 5 4 3 2 1

For my parents, George and Martha Ortiz

For twentyfive centuries, Western knowledge has tried to look upon the world. It has failed to under stand that the world is not for the beholding. It is for hearing. It is not legible, but audible. —Jacques Attali,Noise: The Political Economy of Music “Do you agree?” asked Margaret. “Do you think music is so different to pictures?” “I—I should have thought so, kind of,” he said. “So should I. Now, my sister declares they’re just the same. We have great arguments over it. She says I’m dense; I say she’s sloppy.” Getting under way, she cried: “Now, doesn’t it seem absurd to you? What isthe good of the arts if they’re interchangeable? Whatisthe good of the ear if it tells you the same as the eye?” —E. M. Forster,Howards End

q Co nte nts

List of Illustrations xi Acknowledgments xiii

Introduction: Disciplining Music 1.Titus Andronicusand the Production of Musical Meaning 2. “Her speech is nothing”: Mad Speech and the Female Musician 3. Teaching Music: The Rule of Allegory 4. Impolitic Noise: Resisting Orpheus fromJulius CaesartoThe Tempest5. Shakespeare’s Idolatry: Psalms and Hornpipes inThe Winter’s Tale6. The Reforming of Reformation: Milton’sA Maske

Selected Bibliography 243 Index 257

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