| Abstrakt: |
This article argues against adoption of a widely adopted emendation of ‘rough and woeful music’ inPericles3.2. It then examines what sort of music sophisticated Lord Cerimon called “the rough and woeful music that we have”, taking into account new musical directions of 1608–09. Models of “rough and woeful music” are found in the style of two Italian composers and one English (who, in turn, may stand for others). Actual connections between these three artists are discussed, as well as commonality in their art. Renaissance tendencies to adapt the same musical materials for vocal and varied instrumental use are pointed out. A style of musical Mannerism is mooted. [ABSTRACT FROM AUTHOR] |
