Music and Emotion on the Caroline Stage

Erscheinungsjahr 2026
ISBN: 978-3-032-20974-0
Verlag: Springer

Buch, Englisch, 214 Seiten, Format (B × H): 153 mm x 216 mm, Gewicht: 411 g

Reihe: Palgrave Studies in Music and Literature

This book examines the relationship between music and emotion in the Caroline theatre. Music could be ravishing, it could be unsettling, it could be used as a way of depicting madness itself or of treating that madness. This book explores the many ways in which emotions were provoked, controlled and directed through music and its impact on the theatre audience in a range of Caroline drama. Music allows characters to express their emotions in ways that speech does not; it can be ironic, it can undermine the characters’ dialogue, and it can affect the audience in many ways. This book brings together major recent work on emotions and synthesises this work with scholarship on music to demonstrate how music and emotions are intimately linked on the Caroline stage.

Zielgruppe

Research

Autoren/Hrsg.

Bell, Shirley

Fachgebiete

• Geisteswissenschaften Literaturwissenschaft Literaturwissenschaft
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik
• Geisteswissenschaften Literaturwissenschaft Literarische Strömungen & Epochen

Inhaltsverzeichnis

.- Chapter 1: Introduction: Feeling Music in the Caroline Period.- Chapter 2: Inciting fear: Unsettling Sounds Onstage.- Chapter 3: Ravishing Music: The Image of the Sexualised Woman in Performance.- Chapter 4: Performing Madness: Obsession, Lovesickness, and Grief on the Stage.- Chapter 5: Listening Calmly: Discernment in Onstage Listening.- Chapter 6: Conclusion: “Music for a While”: Time and Emotion on the Stage.

Über Autor(innen)

Shirley Bell is an associate lecturer and researcher in English at Sheffield Hallam University, UK, specialising in early modern literature, drama, and culture. Her doctoral thesis explored the use of instrumental music and song in the works of Richard Brome, James Shirley, and Ben Jonson’s ‘late plays’ to determine how much of an impact the music had on a holistic understanding of the plays in performance. She has published a piece on Brome for and she has been a yearly contributor to the since 2016. She has presented her work at several conferences including the Society for Renaissance Studies conference, the British Graduate Shakespeare conference and the Medieval and Renaissance Music conference.