Abstract
Early Modern European drama integrated vocal music as one of its basic ingredients. However, songs were not easy to fit in some genres and largely appear problematized both in the context of Elizabethan tragedy and the most serious scenes within the tragicomic comedia nueva . To demonstrate this poetic-musical relationship, I analyse popular songs and dialogues about music that Lope gives to his characters during climactic moments and, similarly, I propose to explain the vocal music in Shakespeare’s tragedies. In fact, compositional patterns that are repeated in both playwrights come out and show two dramatic strategies in tune, which is proved with concrete examples, especially from El caballero de Olmedo and Othello .
Highlights
Modern European drama integrated vocal music as one of its basic ingredients
A scene of mirth, mixed with tragedy, has the same effect upon us which our music has betwixt the acts; and that we find a relief to us from the best plots and language of the stage, if the dis courses have been long
De este modo música y tragedia se dan la mano en Lope y en Shakespeare, no como una diversión más ni como un alivio de la tensión dramática sino como un elemento de gran poder simbólico, plenamente integrado en la trama y que avisa del destino funesto a sus protagonistas, personajes que, aunque tarde, se sienten arrastrados de manera siniestra y metaliteraria hacia las letras de esas canciones populares y antiguas en que se ven reflejados
Summary
Modern European drama integrated vocal music as one of its basic ingredients. songs were not easy to fit in some genres and largely appear problematized both in the context of Elizabethan tragedy and the most serious scenes within the tragicomic comedia nueva.
Sign-in/Register to view highlights & summary 
Published Version (
Free)
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call