This chapter investigates a little considered aspect of Rushdie’s work in the context of soundscapes and the auditory imagination. While ekphrasis and the way in which Rushdie works with images has been widely explored, his novels are fully realized through sound, whether it is trains, filmic soundtracks, songs, or the sounds of street life in cities such as Bombay, London, and New York. The chapter focuses particularly on music across Rushdie’s fictional oeuvre, paying closest attention to The Satanic Verses and The Ground Beneath Hear Feet. It argues that a change is perceptible in the way that music is figured across these two novels, which in turn reflects a wider shift in the author’s politics, especially with relation to Islam.

As the popularity of K-pop has grown around the globe, the number and scope of K-pop studies have also expanded. While many have provided important insights into socioeconomic aspects of K-pop, the music itself has rarely been at the center of discussion. The purpose of this chapter is to help fill the gap by examining the sound of K-pop, focusing on its musical elements such as melody, rhythm, and instrumentation. This approach involves close listening and reading of select songs covering various stylistic genres and analyzing their sound using the language of music theory. By so doing, this study will identify and offer an understanding of common musical structures used in K-pop songs. Furthermore, the chapter attempts to respond to the question asked most frequently in the author’s K-pop class: How is K-pop different from popular music of the West? To that end, a comparative analysis is conducted between K-pop songs and Western pop music. Among the styles of songs examined are bubblegum popular music, ballads, and songs that quote Korean traditional music, the types of music that are most revealing in addressing the question of distinctiveness of K-pop songs.

The Pop-up Globe took as its starting point ground-breaking research into the second Globe playhouse, and its size and configuration reflect the geometry theorised in that research. Its design maps onto the archaeology of the first and second Globes much more accurately than does Shakespeare’s Globe in London, and its reproduction of the geometry of the original Globes results in an actor–audience relationship that is markedly more intense and intimate. It has delivered seven critically acclaimed and successful seasons (Auckland 2016, 2017, 2017/18, 2018/19; Melbourne 2017/18; Sydney 2018; Perth 2019) that have created a whole new audience for Shakespeare in repertory, often with transformative educational effects.

But it is a scaffolding building, not timber framed as is the London Globe; the features of its stage and scenae frons and the staging practices employed in its productions have developed from one iteration to the next, referencing historical practices and staging theories but overtly prioritising modern production imperatives. So, what is it that constitutes its historical authenticity?

The authors of this chapter are the principal academic and theatre maker involved in this collaboration, and they reflect on the relationships between a pure historical research project into the architecture of the second Globe playhouse and its application in the Pop-up Globe, on the effects of that architecture on its audience, and on the issues and creative tensions that flow from two radically different but inter-dependent projects.

Serge Gregory surveys Chekhov’s artistic education, his time working the Moscow art beat as a cultural critic, reviewing operas and exhibits, and enjoying the inside scoop on these worlds thanks in part to his older brother Nikolai, an accomplished painter. Gregory demonstrates how Chekhov’s literary impressionism was formed by parallel movements in the arts, especially by his friendship with Isaac Levitan, whose painterly approach to mood was decisive for Chekhov’s own fictional landscapes.

The arts have long been tied to various emotional processes, both as a way for artists to express their emotions, and for audiences to understand the emotions of themselves and others. Therefore, engaging in the arts across childhood and adulthood is often hypothesized as a way to foster emotion abilities. While there is burgeoning evidence of various emotional skills such as emotional intelligence, emotional control, and empathy being fostered through artistic engagement, many questions remain. These include questions about the exact skills and behaviors within emotional processing and functioning that are affected; whether each art form (i.e. dance, music, theatre, visual arts, cinema, etc.) differentially affects emotion abilities; whether there are critical periods for engagement throughout the developmental trajectory of childhood and the lifespan; and the possible psychological, neurological, and environmental mechanisms for these changes. This chapter presents recent empirical evidence for what we know about engaging with the arts as a producer and consumer, particularly focused in middle childhood, and the development of various emotion abilities. As a whole, the literature points to inconsistent findings and large gaps in knowledge; future directions are proposed.

This chapter considers the conceptual function of the echo as a metaphor for processes of intertextual dialogue and transformation. When thinking about the character that Shakespeare’s texts assume in Beckett’s works, instead of terms like adaptation, quotation or association, it is the notion of echo that aptly describes Beckett’s ways of engaging with his predecessor and materializing this engagement in the theatrical performance. This chapter regards the echo both as a principle of composition and an immanent figuration that is realized in the theatrical performance. Matter and materiality, stones and bones in Beckett’s works very often become a metonymy for the text itself in that they expose its opacity and resistance, and, at the same time, render it immortal as a kind of petrified lacuna. The chapter considers Beckett’s use of the materiality of stones and bones and reads Happy Days with Romeo and Juliet, Cymbeline and Hamlet.

Robert Eisenstein, director of the Folger Consort, was musical director for the 2018 production of Davenant’s Macbeth at the Folger Theatre, a collaboration between the Folger Shakespeare Library and the research project ‘Performing Restoration Shakespeare’. In this interview with Amanda Eubanks Winkler, Eisenstein explains the role of music in the Restoration theatre and the particular musical demands of Restoration Shakespeare. Based on his experience at the Folger, he also reflects on the challenges and opportunities for musicians in performing Restoration Shakespeare today with Restoration-era music (some of which had been composed for the original productions) and offers suggestions for both musical and stage directors in bringing this unique historical repertoire to life on the contemporary stage.

The popularity of music in Restoration Shakespeare can be explained in part by the hitherto unacknowledged circulation of Shakespeare’s songs in print and manuscript during the Interregnum. It has often been assumed that the closure of the public theatres between 1642 and 1660 and the suppression of polyphonic church music caused seventeenth-century England to lag behind Europe musically. The Interregnum has therefore been side-lined by music and theatre historians in favour of the Restoration and its stimulating theatrical revival. While the cultural restrictions of the Civil War and Commonwealth inevitably impeded new theatrical works, a survey of the literature produced during the Interregnum confirms a continued interest in drama and dramatic song. The songs from Shakespeare’s original plays reached an all-time peak in their appearance in print during the mid-seventeenth century. The Wits, or, Sport upon sport reveals that during the closure of the theatres, excerpts from pre-war plays were performed privately. The diaries of Evelyn and Pepys indicate that recreational and domestic music-making flourished, and the distinction between professional and amateur musicians developed a fluidity that would persist into the Restoration. The irrepressible enthusiasm for dramatic songs fuelled the phenomenon that would come to be known as Restoration Shakespeare.

The Introduction explains the volume’s scope, material to be investigated, research questions to be pursued and methods to be deployed. Additionally, it situates the book within current scholarship on Shakespeare in performance, theatre history and historical musicology. In doing so, it underlines the volume’s distinctiveness in (i) topic: the first edited collection devoted to Restoration Shakespeare in performance (ii) interdisciplinary methods: the volume integrates archival and practice-led research, embracing Shakespeare studies, theatre history and historical musicology (iii) contributors: chapters are written not just by scholars but also by leading practitioners in music and theatre. We also emphasise how the volume serves as the main publication record for the insights developed during our AHRC-funded project ‘Performing Restoration Shakespeare’ (2017-2020).

Once the misattribution to Matthew Locke of some music for Macbeth published in 1770 was finally resolved in the 1960s, it was concluded that just one song and one dance by him could be connected with some certainty to Restoration stagings of the play. In this chapter, I discuss the ‘The Rare Theatrical’ compositions by Locke, which survive in the manuscript US-NYp Drexel 3976 and show how many of them can be identified as dating from the time of the Macbeth productions of 1663/4 and 1667. An understanding of the nature of the instrumental scoring of the English violin band, which at that date reflected French practice with two viola parts, is combined with other evidence to enable a reconstruction of Locke’s instrumental music for Macbeth, which takes the form of pre-performance music, a Curtain tune and Act tunes. While the particular grouping of movements used in the reconstruction remains largely speculative, the methodology devised to create it enables the identification of a significant body of theatre music from the 1660s, shedding light on the role of music in theatre productions of the time while also providing a context for the better-known music of the following decade.

In 2017, as part of the research project ‘Performing Restoration Shakespeare’, the editors led a research team of scholars and artists in discussing, workshopping, rehearsing, and performing scenes and songs from Thomas Shadwell’s 1674 operatic revision of Davenant and Dryden’s The Tempest at the Sam Wanamaker Playhouse. This chapter offers reflections on how scholar-artist collaboration in performing Restoration Shakespeare has functioned as sustained moments of what Rebecca Schneider (following Gertrude Stein) has called ‘syncopated time’ – in this instance, a collision of archival past and embodied present, in which each dimension punctured the other. Reflecting on their practice-based research, the authors propose that what can emerge through such syncopations are performance-generated insights that neither the recorded past nor the embodied present could fully apprehend on its own.