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John Wilson's Music for Richard Brome's The Northern Lass
by
Green, Keith
in
17th century
/ Ambiguity
/ Archetypes (Psychology)
/ Baroque era
/ Brome, Richard
/ Composers
/ Conventions
/ Drama
/ Dramatic music
/ Evaluation
/ Fate
/ Film & stage music
/ Heroism & heroes
/ Literary characters
/ Literary devices
/ Logic
/ Music
/ Musical interpretation
/ Narrative techniques
/ Playwrights
/ Poetry
/ Rhythm
/ Semantics
/ Sonnets
/ Stress
/ Syntax
/ Theater
/ Theater history
/ Wilson, John (1595-1674)
/ Wilson, John (British composer)
/ Works
2018
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John Wilson's Music for Richard Brome's The Northern Lass
by
Green, Keith
in
17th century
/ Ambiguity
/ Archetypes (Psychology)
/ Baroque era
/ Brome, Richard
/ Composers
/ Conventions
/ Drama
/ Dramatic music
/ Evaluation
/ Fate
/ Film & stage music
/ Heroism & heroes
/ Literary characters
/ Literary devices
/ Logic
/ Music
/ Musical interpretation
/ Narrative techniques
/ Playwrights
/ Poetry
/ Rhythm
/ Semantics
/ Sonnets
/ Stress
/ Syntax
/ Theater
/ Theater history
/ Wilson, John (1595-1674)
/ Wilson, John (British composer)
/ Works
2018
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Do you wish to request the book?
John Wilson's Music for Richard Brome's The Northern Lass
by
Green, Keith
in
17th century
/ Ambiguity
/ Archetypes (Psychology)
/ Baroque era
/ Brome, Richard
/ Composers
/ Conventions
/ Drama
/ Dramatic music
/ Evaluation
/ Fate
/ Film & stage music
/ Heroism & heroes
/ Literary characters
/ Literary devices
/ Logic
/ Music
/ Musical interpretation
/ Narrative techniques
/ Playwrights
/ Poetry
/ Rhythm
/ Semantics
/ Sonnets
/ Stress
/ Syntax
/ Theater
/ Theater history
/ Wilson, John (1595-1674)
/ Wilson, John (British composer)
/ Works
2018
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Journal Article
John Wilson's Music for Richard Brome's The Northern Lass
2018
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Overview
[...]they are the work of different scribes (perhaps three different scribes in 4257 and a single scribe for 4041), but there are some variations in the scoring of the songs and some minor differences in the words. What this means in effect is that Wilson eschews word-painting and any suggestion of a contrapuntal harmony, privileging instead melodic phrases based on the essential units of the poetic thought. [...]the music does not shift in order to accommodate the semantics of a word or phrase, nor does it seek to establish a confluence of syntax and melody, but rather it links musical thought with poetic thought by allowing the text itself to drive the melodic shape. The poetic stress, however, is: / / x / x / x / You say my love is but a man The initial trochee usefully accommodates the emerging anapaestic feel, but the latter part of the line obviates the stress on 'man', throwing it onto 'is' (as the first word on the second beat of the bar), while keeping it on 'love'. [...]the song has the feel of triple time in duple meter (as 6/8 and 6/4 times are counted in two). The opening melodic motif, for instance, familiar to us in its rhythm, begins with the interval of a major third in the 4041 version but a minor third in 4257. [...]the whole character of the song is changed.
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