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A soliloquy (/ s ə ˈ l ɪ l. ə. k w i, s oʊ ˈ l ɪ l. oʊ-/, from Latin solo "to oneself" + loquor "I talk", [1] plural soliloquies) is a monologue addressed to oneself, thoughts spoken out loud without addressing another character. [2] [3] Soliloquies are used as a device in drama. In a soliloquy, a character typically is alone on a stage ...
An Sylvia" became one of three Shakespeare texts set to music by Schubert; the other two are "Ständchen" ("Hark, hark! the lark") and "Trinklied" ("Bacchus, feister Fürst des Weins", D 888). [3] Schubert's friend, Franz von Schober, kept the original manuscript and managed Schubert's music after the composer's death. [2]
Vaughan Williams was engaged to write incidental music at Stratford between 1912 and 1913. Rosabel Watson directed and arranged music for many productions at Stratford and elsewhere. [3] A Shakespeare Music Catalogue (1991) lists over 20,000 items of theatrical and non-theatrical music associated with Shakespeare, much of it unpublished. [4]
Sonnet 128,like Sonnet 8, suggests the octave of the scale as well as, in the case of 128 the 12 notes on the keyboard inside each octave (an association first recognized and described in detail by Fred Blick, in "Shakespeare's Musical Sonnets, Numbers 8, 128 and Pythagoras", 'The Upstart Crow, A Shakespeare Journal', Vol. XIX, (1999) 152–168.)
Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when most public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and ...
Musical memory refers to the ability to remember music-related information, such as melodic content and other progressions of tones or pitches. The differences found between linguistic memory and musical memory have led researchers to theorize that musical memory is encoded differently from language and may constitute an independent part of the phonological loop.
The work adopts the same scheme he used in his other Shakespeare pieces, the fantasy-overture Romeo and Juliet (1869, revised 1870 and 1880) and the symphonic fantasy The Tempest (1873), in using certain characteristics or emotional situations within the play. The essence of the work is the brooding atmosphere depicting Elsinore, but there is ...
At the same time, Richard's vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays. [4] [5] No single play marks a change from the traditional to the freer style. Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [6]