Recomposing the Past: Representations of Early Music on Stage and Screen

SUMARIO. List of figures, music examples and tables // Acknowledgments // List of Contributors // Introduction: Understanding the Present through the Past; the Past through the Present ; James Cook, Alexander Kolassa, and Adam Whittaker // Part 1: Authenticity, Appropriateness, and Recomposing the Past / Chapter 1: Representing Renaissance Rome: Beyond Anachronism in Showtimes The Borgias (2011) ; James Cook / Chapter 2: Baroque à la Hitchcock: The Music of Dangerous Liaisons (1988) ; Mervyn Cooke / Chapter 3: ‘Frame not my Lute’: The Musical Tudor Court on the Big Screen ; Daniela Fountain / Chapter 4: It Ain’t Over ‘til King Arthur Sings: English Dramatick Opera on the Modern Stage ; Katherina Lindekens // Part 2: Music, Space, and Place: Geography as History / Chapter 5: Musical Divisions of the Sacred and Secular in 'The Hunchback of Notre Dame' ; Adam Whittaker / Chapter 6: Celtic Music and Hollywood Cinema: Representation, Stereotype, and Affect ; Simon Nugent / Chapter 7: David Munrow’s ‘Turkish Nightclub Piece’ ; Edward Breen / Chapter 8: Little Harmonic Labyrinths: Baroque Musical Style on the Nintendo Entertainment System ; William Gibbons // Part 3: Presentness and the Past: Dialogues between Old and New / Chapter 9: Presentness and the Past in Contemporary British Opera ; Alexander Kolassa / Chapter 10: Angels in the Archive: Animating the Past in 'Written on Skin' ; Maria Ryan / Chapter 11: Werner Herzog and the Filmic Dark Arts: Myth, Truth, Music, and the Life of Carlo Gesualdo (1566–1613) ; Philip Weller / Chapter 12: Medievalism, Music, and Agency in The Wicker Man (1973) ; Lisa Colton / Chapter 13: Music in Fantasy Pasts: Neomedievalism and 'Game of Thrones' ; James Cook, Alexander Kolassa, and Adam Whittaker // Index.