LEADER 03531nam 2200613 a 450 001 9910457147303321 005 20200520144314.0 010 $a0-8014-6092-1 024 7 $a10.7591/9780801460920 035 $a(CKB)2550000000035306 035 $a(OCoLC)732279932 035 $a(CaPaEBR)ebrary10468062 035 $a(SSID)ssj0000534666 035 $a(PQKBManifestationID)11339490 035 $a(PQKBTitleCode)TC0000534666 035 $a(PQKBWorkID)10511645 035 $a(PQKB)10086259 035 $a(StDuBDS)EDZ0001495766 035 $a(MiAaPQ)EBC3138183 035 $a(MdBmJHUP)muse28885 035 $a(DE-B1597)478536 035 $a(OCoLC)813376185 035 $a(OCoLC)961505903 035 $a(DE-B1597)9780801460920 035 $a(Au-PeEL)EBL3138183 035 $a(CaPaEBR)ebr10468062 035 $a(CaONFJC)MIL767797 035 $a(EXLCZ)992550000000035306 100 $a20100818d2011 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBroken harmony$b[electronic resource] $eShakespeare and the politics of music /$fJoseph M. Ortiz 210 $aIthaca $cCornell University Press$d2011 215 $a1 online resource (277 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8014-4931-6 320 $aIncludes bibliographical references and index. 327 $aTitus Andronicus and the production of musical meaning -- "Her speech is nothing" : mad speech and the female musician -- Teaching music : the rule of allegory -- Impolitic noise : resisting Orpheus from Julius Caesar to The tempest -- Shakespeare's idolatry : psalms and hornpipes in The winter's tale -- The reforming of reformation : Milton's A maske. 330 $aMusic 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. 606 $aMusic in literature 608 $aElectronic books. 615 0$aMusic in literature. 676 $a822.3/3 700 $aOrtiz$b Joseph M.$f1972-$01039311 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457147303321 996 $aBroken harmony$92461446 997 $aUNINA