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Acknowledgements
Notes on Contributors
List of Illustrations
List of Abbreviations
Introduction: Music, Shakespeare, and the Shakespearean
Part I Perspectives
1. ‘Where should this music be?’: Cataloguing Shakespearean Music
2. ‘Sing Willow, &c.’: Willow Songs, Cultural Memory, and the Establishment of an ‘Authentic’ Shakespeare Music Canon
3. ‘Let the sky rain potatoes’: Music, Memory, and Sonic Nationhood in Shakespeare
4. Gender and Music in Shakespeare
5. Tangled Relations: Shakespeare and Ballet
6. Shakespeare’s Musical Time Signatures
7. Shakespeare and Folk
8. ‘A noise of thunder’: Shakespeare and Jazz
9. ‘In comes Romeo, he’s moaning’: Shakespeare, Melancholy, and the Cult of the Rock Auteur since 1960
Part II Music in Shakespearean Theatre
10. Early Encounters with Shakespeare Music: Experiencing Playhouse Musical Performance, 1590‒1613
11. Soundscapes of the Outdoor Playhouses, 1567‒1608
12. Thomas Morley, Robert Johnson, and Songs for the Shakespearean Stage
13. ‘Let’s have a dance’: Staging Shakespeare in Restoration London
14. ‘What’s in a name?’: Authorship and Shakespeare Songs in the Eighteenth Century
15. Music for Shakespeare in Nineteenth-Century American Theatre
16. Shakespeare in Sweden: Wilhelm Stenhammar and Modern Theatre Music
17. Music for Shakespeare at Stratford-upon-Avon: ‘Revels, dances, masques, and merry hours’
18. Historically Informed Experience: Music in Globe III
Part III Shakespeare’s Global Music
19. Living with Ghosts: Beethoven, Wagner, and Shakespeare
20. Shakespeare in Berlioz, Berlioz in Shakespeare
21. Shekspirshchina: Nineteenth-Century Russian Musical Responses to Shakespeare
22. Shakespeare and Soviet Music
23. Shakespearean Concert Songs in Victorian England
24. English Shakespeare Song in British Concerts, 1901‒1951
25. Musical Response to Shakespeare in Greater China: Mandopop and Cantopop
26. Shakespeare, Music, and South Africa: From Afrikaner Titus to Township Opera
Part IV Shakespeare as Music Drama
27. Dramaturgy of the Shakespearean Libretto
28. Shakespeare and the Nineteenth-Century Italian Operatic Stage
29. Performing Verdi’s Otello in Fin-de-Siècle London
30. Shakespeare in Czechoslovakia: The Comedy of Errors, Hamlet, and Coriolanus on the Operatic Stage
31. Shakespeare and Opera in the Czech Lands
32. Audio-visual Metaphors in Operatic Shakespeare: Verdi’s Macbeth and Otello in Czech Theatres
33. Translation and Transformation in Britten’s A Midsummer Night’s Dream
34. From Hal to Henry: Wartime Masculinity in Holst’s At the Boar’s Head
35. Otherness and Strange Sounds: Operatic and Vocal Adaptations of The Tempest in the Twentieth Century and Beyond
36. ‘If it’s good enough for Shakespeare, it’s good enough for us’: Shakespeare and the Broadway Musical
Part V Music in Shakespearean Films
37. Sonic Spectacle in Erich Wolfgang Korngold’s score to Max Reinhardt’s A Midsummer Night’s Dream (1935)
38. ‘Genuine attempts at enlarging the scope of film’: William Walton’s and Laurence Olivier’s Shakespeare Trilogy
39. Reshaping Shakespeare: Dmitri Shostakovich’s Music for Grigori Kozintsev’s Film Adaptations of Hamlet (1964) and King Lear (1971)
40. Music in Akira Kurosawa’s Filmic Adaptations of Shakespeare: Throne of Blood (1957), The Bad Sleep Well (1960), and Ran (1985)
41. Rhizomatic Harmonies: Music in the Shakespeare Films of Vishal Bhardwaj
42. ‘More hits than you can possibly imagine’: The Music of Baz Luhrmann’s William Shakespeare’s Romeo + Juliet
43. ‘Let your indulgence set me free’: Elliot Goldenthal’s Music for the Shakespeare Films of Julie Taymor
Index of Shakespeare’s Works
General Index

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The Oxford Handbook of Shakespeare and Music showcases the latest international research into the captivating and vast subject of the many uses of music in relation to Shakespeare's plays and poems, extending from the Bard's own time to the present day.

The Oxford Handbook of Shakespeare and Music showcases the latest international research into the captivating and vast subject of the many uses of music in relation to Shakespeare's plays and poems, extending from the Bard's own time to the present day. The coverage is truly global in its scope, with ground-breaking studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, SouthAfrica, Sweden, and the Soviet Union, as well as the Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed is equally extensive, embracing music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare's ongoing afterlives in folkmusic, jazz, and popular music. The authors take a range of diverse approaches in tackling their remits: some chapters investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed accounts of representative case studies, situating these firmly in their cultural contexts, or reflecting on the fascinating political and sociological ramifications of the music. As a whole, the Handbook provides a unique and impressively wide-rangingcompendium of cutting-edge scholarship engaging with an extraordinarily rich body of music.

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