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Academic literature on the topic 'Masques with music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Masques with music"

MacIntyre, Jean. "Buckingham the Masquer." Renaissance and Reformation 34, no. 3 (July 1, 1998): 59–81. http://dx.doi.org/10.33137/rr.v34i3.10817.

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George Villiers, Duke of Buckingham (1592-1628), favorite of James I and of Charles I as both prince and king, used skill in dancing, especially in masques, to compete for and retain royal favor. Masques in which he danced and masques he commissioned displayed his power with the rulers he ostensibly served. His example and teaching taught Prince Charles that through masque dancing he might win his father's favor, and probably made Charles believe that his appearance in court masques of the 1630s would similarly win his subjects' favor.

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Mosusova, Nadezda. "Symbolism and theatre of masques: The deathly carnival of la belle époque." Muzikologija, no. 5 (2005): 85–99. http://dx.doi.org/10.2298/muz0505085m.

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The junction of the nineteenth and twentieth centuries in Europe sharpened the clash of artistic novelties in the Western and Slavonic worlds, caused by developed Symbolism and Expressionism. As an output of the former reappeared in the "Jahrhundertwende" the transformed characters of the Commedia dell'arte, flourished in art, literature and music in Italy France, Austria and Russia. Exponents of Italian Renaissance theatre Stravinsky's Petrushka (1911) and Sch?nberg's Pierrot lunaire (1912) turned soon to be main works of the Russian and Austrian expressionistic music style, inaugurated by Strauss's Salome, which won opera stages from the 1905 on. Influences of the latter were widespread and unexpected, reaching later the "remote" areas of the Austro-Hungarian Empire, as well as the Balkans (in 1907 the Canadian dancer Maud Allan performed The Vision of Salome in Belgrade - music Marcel Remy - making her debut in Vienna 1903). Compositions of Strauss and Sch?nberg (Erwartung included) reflected also the strong cult of death present in Vienna's Finde-si?cle Symbolism concerning among other works plays by Wedekind and Schnitzler (Veil of Pierrette was staged successfully in Russia, too), with prototypes in Schumann's Carnival and Masquerade by Lermontov (both works written in 1834!). It was not by chance that Schumann's piano suite became one of the first ballets of Diaghilev's Saisons Russes (1910) and Masquerade, performed with the incidental music by Alexander Glazunov, the last pre-revolutionary piece of Vsevolod Meyerhold (1917).

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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.

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Camati, Anna Stegh. "Intermedial Performance Aesthetics in Patricia Fagundes' A Midsummer Night's Dream." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 141–56. http://dx.doi.org/10.17851/2317-2096.23.3.141-156.

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In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare’s play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspectives.

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SMITH, RUTH. "COMPREHENDING THEODORA." Eighteenth Century Music 2, no. 1 (March 2005): 57–90. http://dx.doi.org/10.1017/s1478570605000254.

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Handel’s Theodora (1750, libretto Thomas Morell), an oratorio about a Christian martyr, does not have the religious-political import of his other English oratorios or the literary-critical stature of his English secular dramas and odes. A ‘sport’ among Handel’s oratorios, until recently Theodora resisted whole-hearted appreciation and elicited widely differing summaries of its meaning. This is the first extended study to be published since the chapter in Winton Dean’s Handel’s Dramatic Oratorios and Masques of 1959. Drawing on guidelines proposed in the appendix ‘Approaches to Oratorio’, the article examines the libretto’s sources, dramatization and relation to the librettist’s interests; positions the work with regard to the religious ideas of its time, identifying its religious-historical standpoint; and describes its kinship with contemporary drama, fiction and aesthetics. Connoisseurs among Handel’s audience appreciated Theodora but ‘the Town’ did not. It is suggested that both Morell and Handel were aiming for inclusiveness, comprehensiveness and breadth of appeal, and in so doing produced a work – more ambiguous and conspicuously open to interpretation than the biblical oratorios – that demands the listener’s active and discriminating engagement.

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Natour, Elisabeth. "Music as Political Practice: Evoking the Sounds of Power at the Early Modern Court." European History Quarterly 53, no. 3 (July 2023): 441–58. http://dx.doi.org/10.1177/02656914231181275.

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Seventeenth-century monarchy was performed, by ritual, by enactments, by sounds, and by visualizations. The crises of European monarchies of the 1620s and 1630s were met with splendid spectacles in which rulers and courtiers acted out idealized royal virtues and power. This article argues the case for the vital importance of music within these spectacles. Musical harmony was thought to mirror the harmony of the spheres, indicating God's plan for the universe. The ruler's ability to master or evoke musical harmony in aulic theatre could thus function as double representation of divine approval of his or her government. By comparing ballets and masques at the French Court of Louis XIII and the British Court of Charles I, music's centrality to political power in the performance of sacral kingship will be demonstrated. A focus on Britannia Triumphans (1638) and Merlaison (1635), works known for the extraordinary attention Charles I and respectively Louis XIII devoted to their performances, exemplifies how the handling of music offers valuable insights into the inner power structures of those courts. In both cases the musical performance was used to communicate and establish related political agendas.

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Onderdonk, Julian. "Masques, Mayings and Music-Dramas: Vaughan Williams and the Early Twentieth-Century Stage by Roger Savage." Notes 73, no. 2 (2016): 295–97. http://dx.doi.org/10.1353/not.2016.0130.

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Hume, Robert D. "The politics of opera in late seventeenth-century London." Cambridge Opera Journal 10, no. 1 (March 1998): 15–43. http://dx.doi.org/10.1017/s0954586700005310.

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To what degree does late seventeenth-century English opera contain politics? Some recent critics have assumed that political commentary conveyed by allegory is a pervasive feature of ‘Restoration’ masques and operas. Is this true? Quite a few political interpretations of particular works have been published but no one has systematically enquired to what extent allegory and/or ideology was presumed to be built into operas mounted in late seventeenth-century London. Theoretical statements of the time about opera are scant and contradictory, their authors disinclined to take up political issues. Some of the political content is glaringly obvious (the allegory in Dryde'ns and Grabu's Albion and Albanius); some of it is sharply disputed. How should we read a work like Dryden's and Purcell's King Arthur? Is it essentially a muddled adventure story? An expression of British nationalism rising above current politics? A piece of covert Jacobite propaganda?

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Thorp, Jennifer. "Dance in Opera in London, 1673–1685." Dance Research 33, no. 2 (November 2015): 93–123. http://dx.doi.org/10.3366/drs.2015.0134.

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This article looks at the extent to which French styles of theatrical dancing influenced opera in London during the years 1673–1685. In the 1670s the emergence of opera in London owed much to Stuart Court culture and its interest in French ballets de cour and English masques. Meanwhile on the London stage in the 1670s, English theatrical dance was now enhanced by the ability of the Duke of York's new theatre at Dorset Garden to offer the sort of spectacular staging already known in Paris and which suited opera so well. These influences – the love of French music and dancing as balanced by the continued interest in vernacular theatre and its new capacity for spectacle – resulted in an English approach to opera in which the dancing and scenography rarely remained completely French or completely English. This article considers opera dancing in London, from the addition of dance to a reworked Shakespeare play in 1673, followed the next year by the first opera sung in French to be staged in London, and the sometimes hybrid applications of English and French dance in opera thereafter. That the fascination with French opera had diminished after 1685 is reinforced by the unsuccessful attempt to stage one of Lully's tragédies-en-musique in a London theatre the following year.

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de Savage, Heather. "Gabriel Fauré, Shylock, op. 57; Pelléas et Mélisande, op. 80, Pénélope: Prelude, Masques et Bergamasques, op. 112. Edited by Robin Tait. Gabriel Fauré Œuvres completes, Série IV, Volume 2 (Kassel: Bärenreiter, 2015). lvi+208 pp. € 310." Nineteenth-Century Music Review 15, no. 2 (April 10, 2018): 305–8. http://dx.doi.org/10.1017/s1479409818000022.

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Dissertations / Theses on the topic "Masques with music"

McLeod, Kenneth A. "Judgement and choice : politics and ideology in early eighteenth-century masques." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42095.

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The faculty of judgment, whether aesthetic, political, or moral, held a central position in the life of eighteenth-century England. This dissertation reveals the political ideologies underlying the aesthetic judgments (made by composers, audiences, and characters) in a repertoire of masque settings of William Congreve's libretto, The Judgment of Paris from 1701 to 1742.
Chapter One provides an introduction to English political history in the early to mid-eighteenth century, in particular the Parliamentary strife which existed between the Whig and Tory parties, and documents the influence of politics on cultural production and aesthetic ideology. Chapter Two outlines the events surrounding the "The Prize Musick" competition including the circumstances of its inception, sponsors, competitors, and outcome. This chapter also discusses Congreve's ties to the Whig party and the structure and content of his libretto. Chapter Three analyses and compares the settings of the original extant settings from the competition by Daniel Purcell, John Weldon, and John Eccles with emphasis on their relative strengths of orchestration, harmonic structure, and motivic content. In Chapter Four new settings of Congreve's libretto, dating from the 1740s, by Giuseppe Sammartini and Thomas Arne are analysed and compared, both to each other and to the earlier "Prize" settings. This chapter also discusses the rise of other dramatic works based on similar "judgment" or "choice" plots such as Handel's The Choice of Hercules. Finally, Chapter Five outlines the historical function of music and aesthetic judgment in maintaining an orderly society and the role of The Judgment of Paris settings in fulfilling this function.

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Gardner, Matthew. "Handel and Maurice Greene's circle at the Apollo Academy the music and intellectual contexts of oratorios, odes and masques." Göttingen V & R Unipress, 2007. http://d-nb.info/99013962X/04.

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Devineau, Camille. "En présence des génies : musique, danse et joie rituelles dans la performance des Masques Blancs chez les Bwaba du Burkina Faso." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100162.

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Le fonctionnement du rituel de la danse des masques blancs chez les Bwaba du Burkina Faso est sous-tendu par l’articulation de trois modes d’expression (musical, dansé et émotionnel) qui mettent en forme son enjeu principal : rendre manifeste une relation entre humains et génies. Bien que rattaché au culte principal des Bwaba, le do, c’est son affiliation au groupe des griots et le lien qui y est développé avec les génies qui priment. En offrant un espace intermédiaire d’interaction entre les dimensions du visible et de l’invisible, ce rituel rend perceptibles certains aspects de la relation qu’entretiennent les griots avec les génies. En mettant conjointement en œuvre les systèmes musicaux et dansés auxquels sont adjoints plusieurs types de manifestations émotionnelles de joie stipulées par le rituel, les participants peuvent faire l’expérience de la présence et de l’implication bienveillante des génies dans le rituel. Tandis que la musique ancre le rituel dans la dimension visible, la danse masquée permet l’intrusion de l’invisible dans la dimension visible des humains. Pour sa part, l’expression émotionnelle de joie garantit l’aspect bienveillant, recherché dans ce rituel, de la relation entre humains et génies. Musique, danse et expressions émotionnelles forment alors un ensemble qui garantit la réussite plus ou moins grande d’une danse de masques blancs par un ressenti concret
The interplay of three expressive modes (music, dance and emotional display) underlie the workings of the White Mask dance ritual among the Bwaba people of Burkina Faso, giving shape to its main concern which is to make manifest a relationship between humans and bush spirits. Although tied to the principal Bwaba cult of the do, it is this ritual’s close association with griots and the connection with bush spirits that it puts into effect counts the most. By providing an intermediary space allowing for interactions between visible and invisible realms, this ritual renders certain aspects of the relationship between griots and bush spirits perceptible. By jointly implementing musical and dance forms, as well as a number of stipulated expressions of delight, White Mask performances allow participants to experience bush spirits’ presence and their benevolent involvement. While music anchors the ritual in the visible realm, the masked dance allows the invisible to intrude into the visible, human one. As for expressions of delight, they bear witness to the benevolent nature of the relationship between humans and bush spirits that this ritual seeks to bring about. Music, dance and emotional expression, then, compose a totality whereby the greater or lesser success of a White Mask performance can be appreciated in terms of concrete feelings

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Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.

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Kang, Dong Hyun. "Interpretation of Karol Szymanowski's Piano Music: Performer's Guide to Selected Piano Works: Prelude, Op. 1, No. 7, Variations in B-flat Minor, Op. 3, Masques, Op. 34, No. 1, "Sheherazade," and Mazurkas, Op. 50, Nos. 1 and 2." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535380993670665.

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Roos, Hilde. "Opera production in the Western Cape : strategies in search of indigenization." Thesis, Stellenbosch: Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5207.

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Thesis (PhD (Music)) -- Stellenbosch University, 2010.
ENGLISH ABSTRACT: During the past few decades fascinating opera productions have been staged by South African opera companies, using strong local casts and strikingly indigenous interpretations of standard works from the canon. It appears that opera in South Africa has survived the tumultuous recent history of this country and is invigorated by the creative possibilities unleashed by its contexts. This dissertation explores whether and how opera production in the Western Cape has reacted to societal influences specific to South Africa. It launches an exploration of if and how the genre has ‘indigenized’ to become what it is today. The following themes present themselves during the course of this dissertation: the process through which opera has rooted itself in the country historically, the forms in and through which opera manifested itself in the Western Cape, how the art form has developed, to what extent local culture has influenced the art form and if, how and why opera production in the Western Cape has diverged from original Western operatic ideals. This dissertation is comprised of two sections representing, broadly, the past and the present. Chapters 1 and 2 are historical studies, whilst Chapters 3 and 4 discuss contemporary perspectives. Chapter 1 is an attempt to construct a history of opera in South Africa and serves as a background or frame for the ensuing chapters. This chapter will show that indigenization in its most subtle form can be traced in local opera productions long before the issue of the reflection of indigenous cultures in opera became relevant. Chapter 2 is a first attempt to account for the history of the Eoan Group, a so-called Coloured opera company who performed during South Africa’s Apartheid years. It investigates the far-reaching implications of the drive to ‘Europeanize’ indigenous culture, as exemplified in the opera productions of this group. Chapter 3 discusses a new opera composition, Hans Huyssen’s Masque (composed in 2005), focusing on the use of voice as it engages with the indigenization of the aesthetic model of voice production. Chapter 4 is an investigation into the functioning of Cape Town Opera. It investigates how a local opera company – an institution promoting opera as a Western form of art – negotiates its way through the tumultuous changes of post-Apartheid South Africa.
AFRIKAANSE OPSOMMING: Operageselskappe in Suid-Afrika het gedurende die afgelope dekades verskeie fassinerende produksies op die planke gebring, produksies wat aansienlik deur inheemse interpretasies beïnvloed is en dikwels van inheemse sangers gebruik maak. Dit wil voorkom of opera in Suid-Afrika nie slegs die politieke omwentelinge van die onlangse verlede te bowe gekom het nie, maar ook produktief put uit impulse wat uit plaaslike omstandighede voortvloei. Die gedagte wat in hierdie proefskrif ondersoek word, is of en hoe opera produksie in die Weskaap op spesifiek Suid-Afrikaanse omstandighede gereageer het. Die bestudering van opera in die Weskaap deur die lens van verinheemsing fokus op die manier waarop opera in die land wortel geskiet het, die wyses waarop dit in die verlede en in die hede tot uiting gekom het, hoe produksie van die genre ontwikkel het, tot watter mate inheemse kulture operaproduksie en komposisie beïnvloed het en hoe en waarom operaproduksie in die Weskaap afgewyk het van oorspronklike Westerse ideale. Hierdie proefskrif bestaan uit twee dele wat die verlede en die hede verteenwoordig. Hoofstukke 1 en 2 behandel historiese gevallestudies en Hoofstukke 3 en 4 kontemporêre operapraktyke. Hoofstuk 1 onderneem om ’n geskiedenis van opera in Suid-Afrika te skets en dien as ’n vertrekpunt of konteks vir die daaropvolgende hoofstukke. Die hoofstuk dui aan dat verinheemsing reeds in subtiele vorm plaasgevind het in operaproduksie lank voor die vraagstuk oor die weerspieëling van inheemse kulture in opera relevant geword het. Hoofstuk 2 is ’n eerste poging om die geskiedenis van die Eoan Groep, ’n sogenaamde Kleurling operageselskap wat gedurende die Apartheidsjare in Suid-Afrika opera geproduseer het, neer te pen. Die hoofstuk ondersoek die verreikende implikasies van die veldtog om inheemse kulture in Suid-Afrika te verwesters. Hoofstuk 3 bespreek ’n nuwe operakomposisie, Hans Huyssen se Masque (gekomponeer in 2005) en fokus op die gebruik van stem en die kwessie van die verinheemsing van die estetiese model van stemproduksie. Hoofstuk 4 het as onderwerp die plaaslike operageselskap, Kaapstad Opera, en ondersoek hoe hierdie organisasie wat opera as ’n Westerste kunsvorm beoefen en bevorder, sy weg vind deur die ingrypende veranderinge wat post-Apartheid Suid- Afrika kenmerk.

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De, Athayde Joao Augusto. "Bourian ou la danse des maîtres : circulations et enjeux identitaires des Agudàs, les Brésiliens du Bénin." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0389/document.

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Descendants à la fois de négriers et d'anciens esclaves du Brésil « retournés » tout au long du XIXe siècle aux actuels Bénin, Togo et Nigeria, les Agudàs, connus aussi comme « les Brésiliens du Bénin », basent leur identité sur des évocations à leurs origines brésiliennes. Un des principaux marqueurs identitaires des Agudàs est la fête de la bourian (« petite ânesse » en portugais), qui réunit chrétiens et musulmans autour d'une sortie de masques très codifiée, où l'on chante – sans comprendre les textes – des airs de samba en portugais, langue qui n'est plus parlée dans cette région d'Afrique. Les divers groupes de bourian, souvent en concurrence les uns avec les autres, évoquent de façon ludique les ancêtres brésiliens, dans un contexte dynamique où chaque population locale réalise des sorties de masques liés aux vodouns. Centrée sur le Bénin méridional, cette thèse cherche à saisir le sens, les enjeux identitaires et les circulations autour de la bourian, tout en gardant une perspective historique et un regard comparatif avec le Brésil
The Agudas, also known as "the Brazilians of Benin", are the descendants of both slave traders and former slaves who "returned" from Brazil to today's Benin, Togo and Nigeria during the 19th century. To this day, they base their identity on evocations of their Brazilian origins. One of the main identity markers of the Agudas is the festival of the Bourian (a Portuguese word meaning "little she-donkey"), which brings Christians and Muslims together around a codified masquerade, where samba tunes are sung – with no understanding of their lyrics – in Portuguese, a language that is no longer spoken in this region of Africa. The various Bourian groups, often in competition with each other, evoke in a playful way their Brazilian ancestors, in a dynamic context where each local population carries out masquerades related to the vodoun. Focusing on Southern Benin, this thesis aims to understand the meaning of the Bourian, as well as the identity issues and circulations in which the Bourian is involved, while keeping an historical and comparative perspective with Brazil

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Scott, Richard James. "Piano music of Karol Szymanowski Metopes, Opus 29, and Masques, Opus 34 /." 1985. http://catalog.hathitrust.org/api/volumes/oclc/13132990.html.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1985.
Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 68-74).

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Books on the topic "Masques with music"

Dean, Winton. Handel's dramatic oratorios and masques. Oxford [England]: Clarendon Press, 1990.

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Blow, John. Venus & Adonis: A masque for the entertainment of the King; Organ voluntaries. London: Decca, 2003.

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Lenzi, Massimo. Maschere musiche: Saggi, materiali e studi sul simbolismo teatrale. Lucca: Pacini Fazzi, 2000.

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Holschneider, Andreas. Acis und Galatea: Kritischer Bericht. Kassel: Bärenreiter, 1995.

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Campion, Thomas. The discription of a maske: Presented before the kinges maiestie at White-hall, on Twelfth Night last, in honour of the Lord Hayes, and his bride. New York: Performers' Facsimiles, 2007.

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Charles, Williams. The masques of Amen House: Together with, Amen House poems and with selections from the music for the masques by Hubert J. Foss. Altadena, Calif: Mythopoeic Press, 2000.

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Wuorinen, Charles. Suite from The magic art. Louisville, Ky: Louisville Orchestra, 1989.

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Rygg, Kristin. Masked mysteries unmasked: Early modern music theater and its pyphagorian [i.e. Pythagorean] subtext. Hillsdale, NY: Pendragon Press, 2000.

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Langages et aphorismes dans la chanson congolaise: Masques onomastiques. Paris: L'Harmattan, 2011.

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(Editor), David W. Music, ed. The Judgment of Paris (Recent Researches in the Music of the Baroque Era). A-R Editions, 1999.

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Book chapters on the topic "Masques with music"

Walls, Peter. "Introduction." In Music in the English Courtly Masque 1604-1640, 1–6. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198161417.003.0001.

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Abstract Middleton and Rowley’s Courtly Masque would not, in fact, have given its audience at the Swan a very accurate picture of what real masques were like, but the prologue is absolutely right in suggesting that the balance between spoken drama and music (and I include dance here) would have been very much in music’s favour. When masques at court feature in seventeenth century letters and chronicles, music and dancing attract at least as much comment as the visual spectacle and rather more than the literary device.

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Walls, Peter. "Masques away from Whitehall." In Music in the English Courtly Masque 1604-1640, 260–303. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198161417.003.0008.

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Abstract The Jacobean masque was an invention specifically tailored to the tastes, aspirations, propaganda goals, and-not least-the resources of the court at Whitehall. But a great number of masques were in fact devised for performance elsewhere.All of these were inevitably adaptations of the Whitehall form—but they are so various (some grandiose, some technically modest yet intellectually sophisticated, some naïve) that they seem at first to form a confusingly miscellaneous group.

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Walls, Peter. "The William Lawes Masques." In Music in the English Courtly Masque 1604-1640, 159–205. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198161417.003.0005.

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Abstract The published text of The Triumph of Peace is one of the relatively few to mention the contribution of specific musicians. Its author, James Shirley, signs off by paying tribute, first to Inigo Jones as designer, and then—in particularly generous terms—to the musicians: ‘The composition of the music was per formed by Mr. William Lawes and Mr. Simon Ives, whose art gave an harmonious soul to the otherwise languishing numbers’ (11. 787–9).

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"Preface with Acknowledgements." In Masques, Mayings and Music-Dramas, xi. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-003.

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"3 The Edens of Reginald Buckley: Temples and Tetralogies at Bayreuth, Stratford and Glastonbury." In Masques, Mayings and Music-Dramas, 67–140. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-008.

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"5 ‘What About an English Ballet?’ Edward Gordon Craig, Music-Theatre and Cupid and Psyche." In Masques, Mayings and Music-Dramas, 165–221. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-010.

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"8 Vaughan Williams, the Romany Ryes and the Cambridge Ritualists." In Masques, Mayings and Music-Dramas, 304–58. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-013.

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"6 Alice Shortcake, Jenny Pluckpears and the Stratford-Upon-Avon Connections of Sir John in Love." In Masques, Mayings and Music-Dramas, 222–74. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-011.

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"Contents." In Masques, Mayings and Music-Dramas, vii. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-toc.

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"Musical Examples." In Masques, Mayings and Music-Dramas, x. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781782043669-002.

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