O Let Us Howle Some Heavy Note

Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage

Nonfiction, Entertainment, Music, Music Styles, Musicals, Theory & Criticism, History & Criticism, Reference
Cover of the book O Let Us Howle Some Heavy Note by Amanda Eubanks Winkler, Indiana University Press
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Author: Amanda Eubanks Winkler ISBN: 9780253027948
Publisher: Indiana University Press Publication: November 1, 2006
Imprint: Indiana University Press Language: English
Author: Amanda Eubanks Winkler
ISBN: 9780253027948
Publisher: Indiana University Press
Publication: November 1, 2006
Imprint: Indiana University Press
Language: English

In the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous.

O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects—those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies.

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In the 17th century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous.

O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects—those who presented either a direct or metaphorical threat to the health of the English kingdom in 17th-century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies.

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