Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. List of Contributors x
5. Editors’ Note xiv
6. Introduction 1
7. I. Myth in Medieval Music Theory and Philosophy
8. 1. Music and the Myth of Apollo’s Grove 17
9. 2. The Consolation of Philosophy and the ‘Gentle’ Remedy of Music 32
10. 3. And in England, There are Singers: Grafting Oneself into the Origins of Music 46
11. II. Iconologies of Music and Myth
12. 4. The Harmonious Blacksmith, Lady Music and Minerva: The Iconography of Secular Song in the Late Middle Ages 63
13. 5. Foolish Midas: Representing Musical Judgement and Moral Judgement in Italy c.1520 87
14. III. Myths in Renaissance Philosophies of Music
15. 6. Marsilio Ficino and Girolamo Cardano under Orpheus’s Spell 107
16. 7. Origin Myths, Genealogies and Inventors: Defining the Nature of Music in Early Modern England 124
17. IV. Myth and Musical Practice
18. 8. How to Sing like Angels: Isaiah, Ignatius of Antioch and Protestant Worship in England 141
19. 9. In Pursuit of Echo: Sound, Space and the History of the Self 156
20. V. Narratives of Performance
21. 10. Ophelia’s Mad Songs and Performing Story in Early Modern England 169
22. 11. Dangerous Beauty: Stories of Singing Women in Early Modern Italy 195
23. VI. Myth and Music as Forms of Knowledge
24. 12. ‘Fantastic Spirits’: Myth and Satire in the Ayres of Thomas Weelkes 215
25. 13. Feeling Fallen: A Re-telling of the Biblical Myth of the Fall in a Musical Adaptation of Marvell’s ‘A Dialogue between Thyrsis and Dorinda’ 232
26. VII. Re-imagining Myths and Stories for the Stage
27. 14. ‘Armida’s Picture we from Tasso Drew’?: The Rinaldo and Armida Story in Late Seventeenthand Early Eighteenth-Century English Operatic Entertainments 249
28. 15. Translating Myth Through Tunes: Ebenezer Forrest’s Ballad Opera Adaptation of Louis Fuzelier’s Momus Fabuliste (1719–29) 267
29. Bibliography 285
30. Index 313