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

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 a 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