Philip Sidney and Musical Poesis

Music offered Philip Sidney and his milieu a unique form of communio, both in the sense of remote communication between souls and in the sense of social “community.” In The Defence of Poesy, in the eclogues of The Countess of Pembroke’s Arcadia, and in the sonnet sequence Astrophil and Stella, Sidney envisions an open-ended, experimental mediascape that neither begins nor ends with writing. This interest in media interactivity resurfaces, in turn, in the compositions of William Byrd, Thomas Campion, John Dowland, and others who translated Sidney’s poetry and his musical legacy into the medium of print. After Sidney’s death, print became a means not to oppose or transcend performance but to activate new sites of music making in amateur and household contexts, opening up new forms of collaboration among poets, performers, and composers.

Street Songs

The Introduction presents an overview of the topic of street song and summarizes the main chapters of the book. It begins by discussing poems by Robert Herrick and Thomas Campion based on the traditional street-vendor’s cry of ‘Cherry Ripe’ as an example of the way in which writers appropriate street songs for their own purposes, and includes discussions of other images and texts such as Donald Davie’s poem ‘Cherry Ripe’. ‘Cherrie-ripe’ traces an arc from the sixteenth century to the twentieth, encompassing literature, art, music, and social history. It suggests the broad scope of the subject, but although attention is paid to its rich and varied contexts, the focus of this book is on the ways in which street song has found its way into works of literature.

Divorce, wedding, and murder

This chapter focuses mainly on the Robert Carr-Frances Howard relationship, her divorce from the Earl of Essex, and subsequent marriage to Carr in an elaborate wedding on 26 December. This marriage solidified the political power of the Howard family. For the wedding, Thomas Campion wrote the first masque, and Jonson wrote two masques. The celebration extended into the City of London in early January with a procession to the Merchant Taylors’ Hall, which included a play, a banquet, a masque by Thomas Middleton, and other entertainments. On 6 January, the court witnessed the performance of Masque of Flowers, financed by Francis Bacon. Only Frances Howard and possibly Carr knew that Thomas Overbury, Carr’s friend, had been murdered in the Tower at her instigation. Not until 1615 did others learn of this plot.

Solmização: regras para a nomeação das notas de acordo com autores ingleses no século XVII

Este artigo tem como objetivo evidenciar as regras propostas pelos autores ingleses para a correta nomeação das notas durante a solmização por meio de três tratados seiscentistas representativos: A new way of making fowre parts (c. 1613) de Thomas Campion; An Introduction to the skill of musick in two books (1655) de John Playford e A compendium of practical musick (1667) de Christopher Simpson.

TEORÍAS Y POLÉMICAS SOBRE LA RIMA EN EL RENACIMIENTO INGLÉS

El propósito de este artículo es examinar las teorías del Renacimiento inglés sobre la rima y la polémica acerca de su conveniencia para la versifi cación inglesa. Los críticos y poetas isabelinos estaban divididos en dos facciones opuestas: una que defi ende los modelos clásicos y trata de rescatar el verso cuantitativo, y por lo tanto rechaza la rima, y otra que acepta la rima como una característica esencial del verso de la época. Samuel Daniel, Thomas Campion, Philip Sidney y Edmund Spenser, entre otros, toman parte en este debate

Solmização: um estudo sistemático de seu ensino a partir de fontes primárias inglesas do final do século XVI até o fim do XVII

Este artigo aborda aspectos do ensino da Solmização a partir do estudo sistemático de fontes primárias inglesas do final do século XVI até o fim do XVII. Pretende-se evidenciar as particularidades do ensino da Solmização dentre os autores ingleses já que eles utilizam apenas quatro Sílabas: mi, fá, sol, lá. Para isto, será explicitado a forma como Thomas Morley (1597), Thomas Campion (ca. 1614), Charles Butler (1636), John Playford (1655) e Christopher Simpson (1667) tratam este assunto. Pode-se concluir que apesar da maioria dos tratados ingleses de música prática do século XVI até o fim do XVII serem baseados no sistema hexacordal, não explicam todas as regras necessárias para a sua compreensão.

Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters

Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.