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125 - Robert Johnson

from Part XIII - Shakespeare’s Fellows

Published online by Cambridge University Press:  17 August 2019

By
Catherine A. Henze
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

The CaptainChapman, GeorgeGlorianaThe Knight of the Burning Pestle“Lutes, Viols, and Voices”masque(s)The Witch
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 942 - 947
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Bowers, Fredson, gen. ed. The Dramatic Works in the Beaumont and Fletcher Canon. 9 vols. Cambridge: Cambridge University Press, 1966–94.Google Scholar
Chickering, Howell. “Hearing Ariel’s Songs.” The Journal of Medieval and Renaissance Studies 24 (1994): 131–72.Google Scholar
Cutts, John P. La Musique de scène de la troupe de Shakespeare. 2nd ed. Paris: Éditions du Centre National de la Recherche Scientifique, 1959.Google Scholar
Duckles, Vincent. “Music for the Lyrics in Early Seventeenth-Century English Drama: A Bibliography of the Primary Sources.” Music in English Renaissance Drama. Ed. Long, John H.. Lexington: U of Kentucky P, 1968. 117–60.Google Scholar
Fox-Good, Jacquelyn. “Other Voices: The Sweet, Dangerous Air(s) of Shakespeare’s Tempest.” Shakespeare Studies 24 (1996): 241–74.Google Scholar
Gooch, Bryan, and Thatcher, David, eds. A Shakespeare Music Catalogue. 5 vols. Oxford: Clarendon, 1991.Google Scholar
Henze, Catherine A. “How Music Matters: Some Songs of Robert Johnson in the Plays of Beaumont and Fletcher.” Comparative Drama 34 (2000): 1–32.CrossRefGoogle Scholar
Henze, Catherine A. “Invisible Collaboration: The Impact of Johnson’s Original Music on Renaissance Dramas.” Text and Presentation 22 (2001): 69–81.Google Scholar
Henze, Catherine A. “Women’s Use of Music to Motivate Erotic Desire in the Drama of Beaumont and Fletcher.” Journal of Musicological Research 20 (2001): 97–134.CrossRefGoogle Scholar
Jorgens, Elise Bickford, ed. English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts. 12 vols. New York: Garland, 1986–89.Google Scholar
Spink, Ian, ed. Robert Johnson: Ayres, Songs and Dialogues. London: Stainer and Bell, 1961.Google Scholar
Sundermann, Albert, ed. Robert Johnson: Complete Works for Solo Lute. London: Oxford UP, 1972.Google Scholar

Further reading

Ashbee, Andrew. “Robert Johnson.” A Biographical Dictionary of English Court Musicians, 1485–1714. Ed. Ashbee, Andrew and Lasocki, David. 2 vols. Aldershot: Ashgate, 1998. 2: 630–32.Google Scholar
Chan, Mary. Music in the Theatre of Ben Jonson. Oxford: Oxford UP, 1980.Google Scholar
Holman, Peter. “New Sources of Music by Robert Johnson.” Lute Society Journal 20 (1978): 43–52.Google Scholar
Jeffrey, Brian. “The Lute Music of Robert Johnson.” Early Music 2 (1974): 105–07, 109.CrossRefGoogle Scholar
Jeffrey, Brian. Shakespeare and Music. London: Arden Shakespeare, 2006.Google Scholar
Lindley, David. “Music, Masque, and Meaning in The Tempest.” The Court Masque. Ed. Lindley, David. Manchester: Manchester UP, 1984. 47–59.Google Scholar
Seng, Peter J. The Vocal Songs in the Plays of Shakespeare. Cambridge: Harvard UP, 1967.CrossRefGoogle Scholar
Spink, Ian. English Song: Dowland to Purcell. London: B. T. Batsford, 1974.Google Scholar
Spring, Matthew. The Lute in Britain: A History of the Instrument and Its Music. Oxford: Oxford UP, 2001.Google Scholar

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