Shakespeare and music

by Edward W. Naylor

[189].
Oldcastle, Sir John, [86].
Ominous music, [159].
Ophelia's songs, [76], [77], [196]-198.
'[Orchésographie],' Arbeau's, [113], [119], [120], [122], [124], [137]-151, [205], [206].
Orchestra, poem by Sir John Davies, [123].
Organ, in chamber music, [13], [30], [31], [48], [170] (on stage), [185].
Ornithoparcus, [34].
'Orpheus with his lute,' [73].
Othello, [102], [161], [166], [182].
Oxford, music at, [12]-15.
Pageant of the Nine Worthies, [131].
Pammelia, Ravenscroft's, [17], [18].
Pandarus's songs, [72].
[Pandarus], a musician and singer, [103], [104].
Paradise Lost, [155].
Paradyse of daynty Devises, [73], [74].
Parley, [182].
Parthenia, [54], [108], [114], [123], [201].
Part-songs by Henry VIII., [9].
Parts, vocal, [5], [7], [24], [25], [65], [72], [79], [80];
instrumental, [103].
Passamezzo, see [Pavan].
Passamezzo Pavan (Passy-measures), [114], [126], [134], [145], [201], [203].
Pasqualigo, letter of, [9].
Passionate Pilgrim, [71], [188].
[Pavan], dance, [108], [113] (for voices), [114], [116] (with Galliard), [134]-136, [144]-146, [201]-204.
Pavan, mode of dancing, [134], [144].
Pavan, 'quadrant,' [7].
Pavan, 'strains' of a, [23], [114], [135], [136], [144].
Pavane d'Espagne, see [Canaries], [146].
Peal of horns, to wind a; see [Horns], [211].
Peele, Old Wives' Tale, [16], [189].
'Peg-a-Ramsey,' [71], [89], [188].
Percy's Reliques, [83], [190], [196].
Pericles, [44], [64], [101], [107], [152].
Pes, or burden, [24].
Philomel, [22].
Pipe, with tabor, see [frontispiece], [78], [80], [81], [97], [98], [161], [162], [169].
Pipes, [129];
of cornstalk, [162].
Pipers and fiddlers, unprofitable, [20].
Pizzicato, [30].
Plain and Easy Introduction to Practical Music, [4]-8, [23], [113]-116.
Plain song, [6], [8], [41], [42], [50], [67], [69], [185].
Plain song book, [6].
'Play his part,' see 'Bear,' [12].
Playford, John, [12], [45], [189].
Plays of Shakespeare with references to music, [4], et passim.
Plays, introduced by trumpets, [164].
Plays with music, 1586 to 1642, [171].
Popular Music, Old English, Chappell's, [9].
Praetorius, [122], [134].
Price, John, [80].
[Prick-song], [15], [25], [41], [67], [69], [185].
Professional musicians, 17th cent., [13], [14], [130].
[Proportion], [6], [7], [32], [33], [34];
[153], Pythagoras on musical.
Psalmody, metrical, [85], [86].
[Psaltery], [176].
Psychology of music in Shakespeare, [2], [152]-158.
Public-house song, Elizabethan, [17], [20].
Punctus, see [Prick-song].
Puns, see [Quibbles].
Pupil and master, [5], [6], [7], [58]-60, [62]-64.
Purcell, Bonduca, [17], [36], [171].
operas, [176], [182], [183], [211].
Purcell, catch, [77].
canaries, [120].
Puritan, sings psalms to hornpipes, [84].
Pyramus and Thisbe, a masque, [160], [167].
Pythagoras, on music of spheres, [152]-156.
Quadrant Pavan, [7].
Quadrupla, [33], [34].
[Quibbles], verbal, on musical terms, [4], [22], [23], [24], [26], [27], [28], [32], [36], [39], [40], [43], [44], [51], [53], [60], [76], [87], [88], [89], [93], [99], [103], [104], [120], [121], [122], [126], [127], [128], [129], [130], [135], [163], [183].
Quiddle, to, [16].
Raye, see [Hay].
Rebeck, [129].
'Record,' use of the word, [50].
[Recorder], [31], [50]-53, [170], and [frontispiece].
Regals, a small organ, on stage, [170].
Rehearsal, The, (comedy), [131].
Rests, [22], [23].
Retreat, stage direction, [171], [172].
Ribible, [129].
Richard II., [32], [48], [127], [182].
Richard III., [166], [167], [168].
Rimbault; Mus. Antiq. Soc., [36], [171].
Rimbault's 'Rounds, Canons, and Catches', [17], [72], [83], [94].
Romeo and Juliet, [43], [73], [110], [129], [185], [192], [193].
Rotybulle Joyse, [67], [68], [69].
Round, dance, [123], [125], see [Hay].
Round (catch), [16], [17], [18], [23], [24], [69], [72], [91], [94].
Royal musicians, [9]-12.
Sackbut, [144], [176].
Salary of musicians in taverns, [19], [104].
Salary for a singer, [86], [87], [88].
Saltarello, dance, [84], [115].
Saltiers, company of dancers, [80], [84].
Saraband, dance, [116].
Satiromastix, by Dekker, [164].
Sault majeur, in galliard, [124], [138], [143], see [Caper].
Sault majeur, in lavolte, [149].
Scale, notation of, [37]-40.
Scamps in Shakespeare, mostly musicians, [92],
see [Falstaff], [Stephano], [Pandarus], [Toby], [Autolycus].
Scotch Jig, [125].
'Scurvey tunes,' [191].
Selden, on dances, [118], [126].
Sellenger's Round, [54].
Sennet, [168], [178] (derivation), [210].
Serenades, [55], [96] ff, [128].
Serpent, [179], [180].
Sesquialtera, [7], [33], [34].
Sesquitertia, [33], [34].
'Set,' to, (of pitch), [26], [27].
quibble on, [27].
Shakespeare, trustworthy in musical matters, [1], [2], [3].
Shakespeare, passages on music classified, [21].
Sharps, [26], [27], [28].
Ship of Fools, Brant's, [96].
Shirley, Triumphs of Peace, [171].
Shorthouse, Mr J.H., [2].
Shrew, Taming of the, [39], [40], [58]-60, [63], [64], [92], [168], [183], [187], [199].
Sight-singing, [7], [9], [25].
Silence's songs, [70].
'Sing his part,' see 'Bear,' [14], [15].
Singers' excuses, [93].
Singing, amongst lower classes, [15]-18, [66]-69, [78]-80, [83], [84].
Singing, amongst higher classes, [5]-9, [12], [13]-15.
Singing, 13th and 14th cent., [65].
Singing, 15th and 16th cent., [66]-69, [97], [98].
Singing-man of Windsor, [85].
Sinkapace, see [Cinquepace].
Sir Roger de Coverly, dance, [115], [123].
Skelton, [66], [67].
'Sneak's noise,' [105], [106].
Social Life, music in, [4] ff.
Sol-Fa, [35]-40, [67], [68], [130], [186].
Solmisation, [187].
Songs, mentioned or quoted in Shakespeare, [69] ff.
Sonneries, French trumpet calls, [178], [210].
Sonnet VIII, [25].
Sonnet CXXVIII, [54].
Sophonisba, by Marston, [170].
Spheres, Music of the, [152]-156.
Spinet, [145], and [frontispiece].
St Thomas Wake, Pavan and Galliard, [136], [201]-203.
Stage Directions, musical, [4], [159], [165] ff, [169]-171, etc.
Stanley, Thos., Hist. of Philos., [152].
[Stephano's] songs, [73], [191].
Steps, of dances, [122], [124], [139].
Stop, to, of strings, etc., [22], [26], [51], [52], [53].
Strain, technical meaning of, [23], [108], [114], [116], [124], [135], [136].
Strain, quibble on, [22], [23].
'Sumer is icumen in,' [23], [24], [65].
Supper, music after, [5], [105].
Swan-song, [95].
Sylva Sylvarum, Bacon's, [31].
[Sympson], Christopher, [29], [30], [37], [38], [47], [116], [117], [185].
Tabor and Pipe, [78], [80], [81], [91], [92], [131], [133], [139], [161], [162], [176], and [frontispiece].
Tabourin and Flutte, [139].
Tabourine, military drum, [162], [209].
Tabourot, Jehan, see Arbeau, [137].
Tangents, of clavichord, [68].
Tarantella, [35].
Tarantism, [35], [106].
Taverns, Music in, [19], [20], [104], [105].
Technical terms, musical, [21] ff.
Tempest, [73], [77], [81], [91], [92], [107], [122], [171], [191].
Temple, Sir W., [132], [133].
Tereus, [23].
Text, music in Shakespeare's, [4].
'The God of Love,' [70].
'The hunt is up,' [192].
'The master, the swabber,' [73], [191].
Theatres, closed, [19].
Theatres, music at, [175]-177.
Theorbo, lute, [46], [56].
'There dwelt a man in Babylon,' [71], [89], [189].
'They bore him barefaste,' [77], [197].
'Thou knave,' [87], [88], [89], [198].
[Threemen] songs, [16], [66], [69], [79], [82], [83], [84], [85], [199].
'Three merry men,' [71], [89], [188].
Thunder and lightning, on stage, [165].
Time, see [Proportion].
Time, to keep, [22], [23], [32], [42], [43], [44], [87].
Timon of Athens, [115], [181].
Titus Andronicus, ballad of, [76], [196].
Titus Andronicus, [183], [211].
'To shallow rivers,' [71], [187].
[Toby] Belch's, Sir, songs, [71], [72], [188], [190], [198].
Toccata, [62], [181].
Tocco di campana, [62].
Tocsin, [62].
'Tom o' Bedlam,' [35], [36].
Tordion, dance, [138], [141],

[142].
'Touch,' to, an instrument, [49], [62], [108].
Tragedies, Music in the, [4], [165], [169].
Trenchmore, or Frenchmore, a dance, [118], [131].
Trinity Coll., Camb., Statutes of, [8], [9].
Tripla, [33], [34].
Troilus and Cressida, [32], [72], [103], [104], [124], [162], [166].
Trumpets, in the theatre band, [176].
Trumpets, stage direction, [168], [169], [175], [178].
[Tucket], [62], [63], [180]-182, [210], [211].
Tudway, Dr, [49].
Tune, to keep in, [22], [26], [27], [28], [100].
Tusch, [63].
Twelfth Night, [29], [48], [71], [72], [77], [81], [88], [89], [94], [95], [108], [114], [121], [135], [152], [188]-190, [198], [201], [202], [203].
Two Gentlemen of Verona, [24], [26], [71], [81], [98], [99], [100], [117], [128], [207].
Two Italian Gentlemen, comedy by Munday, [170].
'Two maids wooing a man,' [72], [79].
Two Noble Kinsmen, [71].
'Under the greenwood tree,' [72].
University, music at, 16th and 17th cent, [7], [8], [9], [12]-14.
'Usurer's wife, The,' ballad, [72], [79].
Ut, Re, Mi, [37]-40, [187].
Variations, [28], [29], [48], [195].
Ventages, [51].
Venus and Adonis, [166].
Viol, treble, tenor, bass, [12], [13], [19], [31], [45], [46], [47], [171], and [frontispiece].
Viols, [11]-14, [19], [44]-49, [61], [65], [98], [101], [170].
Viols, tuning of, [46], [47].
Viol da Gamba, [11], [12], [19], [29], [30], [45], [46], [47], [48].
Viol da Gamba, divisions on the, [29], [30], [186].
Violin, [45], [49], [62], [145], [176].
Violin, thought vulgar, [13], [46], [59].
Violone, double-bass, [48], [176].
Virginal, [10], [11], [13], [31], [53], [54], [68], [76], [123].
Virginal, Qu. Elizabeth's, [11], [53], and [frontispiece].
Virginal Book, see [Fitzwilliam] and [Lady Nevell].
Volta, Volte, see [Lavolta].
'Walsingham,' [196].
Weavers, and singing, [86], [87], [88].
'Wee be souldiers three,' [199].
'What shall he have,' [77], [94].
'When Arthur first,' [70].
'When daffodils,' [72].
'When griping grief,' [73], [128], [130], [193].
'White his shroud,' [196].
'Whoop, do me no harm,' [72], [78], [190].
'Will you buy any tape,' [72].
Windsor, St George's Chapel Choir, [85].
Winter's Tale, [53], [72], [78], [80], [190], [192], [199].
Wood, Anthony, [12], [13].
Wright, Mr W. Aldis, [9], [31], [83].
Ye noble minds, [195].

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EDINBURGH

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FOOTNOTES

[1] See [Appendix].

[2] This statement of Hawkins' seems a little exaggerated. Mr Aldis Wright tells me that the statutes provided for an examination in singing for Candidates for Fellowships, and that ability gave a candidate an advantage, in case of equality. Singing was not required of all candidates, but the subject was considered on the fourth day of the examination, along with the essay and verse composition.