Twelfth Night, By William Shakespeare
Throughout numerous theatre productions and writings, music acts as the portrayal of a performances atmosphere and/or condition. The melodic compositions that enhance a production often attract an audience’s attention as well as connect fabricated characters to genuine people. While the character’s emotions depicted throughout a performance attain an audience’s response, the musical score written during the process of a play receives a greater acknowledgment. Viewing Twelfth Night from a analytical musical perspective, Shakespeare underscores how the expression of various genres of music reveals the inner feelings of characters and foreshadows the progress of the characters. William Shakespeare organized his style of writing through a series of periods; the first of four periods was written prior to 1595. Shakespeare’s writings throughout this period contained material with a optimistic and youthful view point. The second period held the bulk of
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Shakespeare's histories, comedies, and tragedies. According to an article, “Twelfth Night remains among the most popular of Shakespearean comedies on the stage” (Twelfth Night). Hamlet, As You Like It, and Henry V are three of the many plays Shakespeare wrote other than Twelfth Night during the second period. The third period consisted of plays such as Julius Caesar, Macbeth, and King Lear. The fourth period, the final period displayed instances of hope for faults throughout society. Although the music composed for plays is often overseen, these arrangements should be regarded as an important role within to increase the individuality of a piece. Chye Tan states that throughout Twelfth Night “music permeates the play and is tightly interwoven into the dramatic structure and thematic concerns such as love, gender, and time” (Chye Tan). This Shakespearean play commences and resolves with the progression of music. Not only does Twelfth Night incorporate instances of melodious importance, Twelfth Night includes occasions of lyrical structure throughout the dialogue. Various character interactions occur with the initiation of music. For Example, Viola, a woman in search of a new identity expresses, “For I can sing And speak to him in many sorts of music That will allow me very worth his service” (1.2.54-56). By stating this Viola infers that because of her musical abilities, she will obtain a personal connection with Duke Orsino. With Viola’s musical capabilities she is able to relate to Duke Orsino. The developments of character relationships continually transpire throughout the progression of the play. While music guides the formation of relationships throughout Twelfth Night, musicality also reveals character emotions and mood.
Duke Orsino, expresses his passion for music as well as his devotion for love for the duration of Twelfth Night. Thomson states that “As he listens to the music, Orsino experiences the longing for release from love… as well as a premonition of the emptiness that follows release.” This depicts the importance music holds within Orsino emotions; music not only heightens his feelings towards others, it assists the growth of his vacancy. Music serves as Duke Orsino's source of comfort and tranquility during his periods of frustration. As Orsino states, “If music be the food of love, play on” (1.1.1), he is dissatisfied with his courtship of Olivia, an aristocratic and wealthy woman from Illyria. While Orsino’s emotions are displayed throughout the music played within the play, Feste, the jester, performs the majority of the music that affect the other characters as well as
himself. Feste’s role throughout Twelfth Night is classified as one of the most important roles in the play because not only does he introduce characters and express character emotions, he ties all the characters together. Bradley states that “Almost all the music and the praise of music comes from Feste or has to do with Feste.” This is because he constantly provides music for others and introducing new character feelings. A reader or audience member has the capability to understand and grasp emotional concepts because of Feste’s musical interpretations. When asked to play music Feste’s response is, “No pains, sir; I take pleasure in singing, sir” (2.4.68). This explains why the majority of the music used and played throughout Shakespeare’s Twelfth Night is played by Feste. While it seems Feste’s main concern throughout the play is music, he seems to recognize how the characters interact and who the characters actually are. Sir Toby Belch, Lady Olivia’s Uncle, associates himself with music as well as partakes in playing music throughout the play, Twelfth Night. While in some instances he uses music to express his love for Maria, Olivia’s household maid, in others, he and Sir Andrew Aguecheek show their joy by dancing and creating entertaining melodies on the piano. Sir Toby states: “'Three merry men be we.' Am not I consanguineous? am I not of her blood? Tillyvally. Lady!” (2.3.71-73). This statement expresses Sir Toby’s care for Olivia while proving his compassion and adoration towards Maria.
When observing the characters throughout the performance of Shakespeare’s Twelfth Night, an audience member regards the differing ranges and vocal parts of the various vocalists within the production. Thomson specifies that “The play has contrasting vocal parts, whose observance in performance is almost compulsory; Sir Toby and Malvolio in the bass/baritone range.” Recognizing these particular differences within the character’s vocal parts, improves a character’s understanding of the depth that each character holds. The musicality throughout a play affects numerous aspects of that play; for instance, within Twelfth Night it affects character genders and live audiences. Not only does the music affect mood and character condition, it changes each character’s perception of one another. Throughout Twelfth Night the importance of gender plays a crucial role; therefore, the music within the play develops many of the character’s s disoriented and aware mental states. Chye Tan believes that “By being a unique performative discourse alongside the visual and verbal lines of action, the songs in Twelfth Night augment the visual cross-dressing (physical presence and costume) and gender (con)fusion that results.” This belief is proven multiple times throughout the play in scenes where characters continually express inaccurate accusations of one another’s gender. These occasions arise commonly between Duke Orsino and Viola/Cesario. For example, Orsino says, “Be not amazed. Right noble is his blood…/Boy, thou hast said to me a thousand times/Thou never shouldst love woman like to me” (5.1.256-262). In this proclamation, Orsino uses word that portray Viola as a man because in fact Viola is dressed and is acting like a man instead of a woman. Orsino may acts as if he has insight on Viola’s gender by calling her a “boy,” but his intentions are not to understand the complexity of her character, they are simply thoughtless statements. When an audience member reacts to various music sung or played through a play he/she may not be listening to the original music written for that play. Often times composers are invited to add music to the score and add on to the original play. While stating that “His [Orsino’s] progress through the play is foreshadowed in the music that introduces it,” Thomson is claiming that the emotion noted prior to a cast member’s entrance presents the general feeling of a character as well as creates an audience member’s connection to that character. An example of this is explored when Duke Orsino states, “That old and antique song we heard last night: Methought it did relieve my passion much” (2.4.4-5). This statement explains that Orsino feels a relief as well as a sense of alleviation during the scene, therefore the audience most likely possess a similar sense. Accordingly, when integrating music into a live performance, audiences react to the situation place before them. Throughout the play Twelfth Night, the musicality improves an audience's participation within a live production, while portraying each character's emotions and feelings. Music not only enhances the performance of a play, but affects numerous features that plays incorporate.
Shakespeare's histories, comedies, and tragedies. According to an article, “Twelfth Night remains among the most popular of Shakespearean comedies on the stage” (Twelfth Night). Hamlet, As You Like It, and Henry V are three of the many plays Shakespeare wrote other than Twelfth Night during the second period. The third period consisted of plays such as Julius Caesar, Macbeth, and King Lear. The fourth period, the final period displayed instances of hope for faults throughout society. Although the music composed for plays is often overseen, these arrangements should be regarded as an important role within to increase the individuality of a piece. Chye Tan states that throughout Twelfth Night “music permeates the play and is tightly interwoven into the dramatic structure and thematic concerns such as love, gender, and time” (Chye Tan). This Shakespearean play commences and resolves with the progression of music. Not only does Twelfth Night incorporate instances of melodious importance, Twelfth Night includes occasions of lyrical structure throughout the dialogue. Various character interactions occur with the initiation of music. For Example, Viola, a woman in search of a new identity expresses, “For I can sing And speak to him in many sorts of music That will allow me very worth his service” (1.2.54-56). By stating this Viola infers that because of her musical abilities, she will obtain a personal connection with Duke Orsino. With Viola’s musical capabilities she is able to relate to Duke Orsino. The developments of character relationships continually transpire throughout the progression of the play. While music guides the formation of relationships throughout Twelfth Night, musicality also reveals character emotions and mood.
Duke Orsino, expresses his passion for music as well as his devotion for love for the duration of Twelfth Night. Thomson states that “As he listens to the music, Orsino experiences the longing for release from love… as well as a premonition of the emptiness that follows release.” This depicts the importance music holds within Orsino emotions; music not only heightens his feelings towards others, it assists the growth of his vacancy. Music serves as Duke Orsino's source of comfort and tranquility during his periods of frustration. As Orsino states, “If music be the food of love, play on” (1.1.1), he is dissatisfied with his courtship of Olivia, an aristocratic and wealthy woman from Illyria. While Orsino’s emotions are displayed throughout the music played within the play, Feste, the jester, performs the majority of the music that affect the other characters as well as
himself. Feste’s role throughout Twelfth Night is classified as one of the most important roles in the play because not only does he introduce characters and express character emotions, he ties all the characters together. Bradley states that “Almost all the music and the praise of music comes from Feste or has to do with Feste.” This is because he constantly provides music for others and introducing new character feelings. A reader or audience member has the capability to understand and grasp emotional concepts because of Feste’s musical interpretations. When asked to play music Feste’s response is, “No pains, sir; I take pleasure in singing, sir” (2.4.68). This explains why the majority of the music used and played throughout Shakespeare’s Twelfth Night is played by Feste. While it seems Feste’s main concern throughout the play is music, he seems to recognize how the characters interact and who the characters actually are. Sir Toby Belch, Lady Olivia’s Uncle, associates himself with music as well as partakes in playing music throughout the play, Twelfth Night. While in some instances he uses music to express his love for Maria, Olivia’s household maid, in others, he and Sir Andrew Aguecheek show their joy by dancing and creating entertaining melodies on the piano. Sir Toby states: “'Three merry men be we.' Am not I consanguineous? am I not of her blood? Tillyvally. Lady!” (2.3.71-73). This statement expresses Sir Toby’s care for Olivia while proving his compassion and adoration towards Maria.
When observing the characters throughout the performance of Shakespeare’s Twelfth Night, an audience member regards the differing ranges and vocal parts of the various vocalists within the production. Thomson specifies that “The play has contrasting vocal parts, whose observance in performance is almost compulsory; Sir Toby and Malvolio in the bass/baritone range.” Recognizing these particular differences within the character’s vocal parts, improves a character’s understanding of the depth that each character holds. The musicality throughout a play affects numerous aspects of that play; for instance, within Twelfth Night it affects character genders and live audiences. Not only does the music affect mood and character condition, it changes each character’s perception of one another. Throughout Twelfth Night the importance of gender plays a crucial role; therefore, the music within the play develops many of the character’s s disoriented and aware mental states. Chye Tan believes that “By being a unique performative discourse alongside the visual and verbal lines of action, the songs in Twelfth Night augment the visual cross-dressing (physical presence and costume) and gender (con)fusion that results.” This belief is proven multiple times throughout the play in scenes where characters continually express inaccurate accusations of one another’s gender. These occasions arise commonly between Duke Orsino and Viola/Cesario. For example, Orsino says, “Be not amazed. Right noble is his blood…/Boy, thou hast said to me a thousand times/Thou never shouldst love woman like to me” (5.1.256-262). In this proclamation, Orsino uses word that portray Viola as a man because in fact Viola is dressed and is acting like a man instead of a woman. Orsino may acts as if he has insight on Viola’s gender by calling her a “boy,” but his intentions are not to understand the complexity of her character, they are simply thoughtless statements. When an audience member reacts to various music sung or played through a play he/she may not be listening to the original music written for that play. Often times composers are invited to add music to the score and add on to the original play. While stating that “His [Orsino’s] progress through the play is foreshadowed in the music that introduces it,” Thomson is claiming that the emotion noted prior to a cast member’s entrance presents the general feeling of a character as well as creates an audience member’s connection to that character. An example of this is explored when Duke Orsino states, “That old and antique song we heard last night: Methought it did relieve my passion much” (2.4.4-5). This statement explains that Orsino feels a relief as well as a sense of alleviation during the scene, therefore the audience most likely possess a similar sense. Accordingly, when integrating music into a live performance, audiences react to the situation place before them. Throughout the play Twelfth Night, the musicality improves an audience's participation within a live production, while portraying each character's emotions and feelings. Music not only enhances the performance of a play, but affects numerous features that plays incorporate.