Content
I. Introduction...........................................1
II. Analysis and Interpretation...................1
1. Music as Message..............................1
2. Music as Essential Part of the Play....4
3. Music as Power-Tool.........................5
III. Conclusion............................................7
IV. Bibliography.........................................8
I. Introduction
The Tempest is full of music, singing, and dancing. Every act and every scene has at least
one musical element. This is not very surprising, as Shakespeare had his own musicians, whom he
did not have to pay, and thus he could afford such a variety of music. The whole play takes place on
a desert island which is inhabited by only three people. Particularly, the “unusual soundscape [shall]
underpin[s] the strangeness of the island” (Shakespeare, Introduction 23-4). Hearing all the songs
accompanied by “solemn” music is not only spectacular for the audience, even Caliban, whom we
know as a rude and uneducated native of the island, is fascinated by “the isle [which] is full of
noises, / Sounds, and sweet airs, that give delight and hurt not” (3. 2. 127-128). Thus he wants to
calm his new friends Stephano and Trinculo, who had never seen and heard such things. Moreover,
Ariel casts a spell over Ferdinand with his music and he follows it, although he has just
shipwrecked and a different behaviour would be expected in the case of such a catastrophe.
We can see that music has a huge impact on both the figures in the play and the audience, as
this drama was actually written to be performed rather than to be read. Nonetheless it is not enough
to say that music is only used to create a nice background sound for the play. One can even go so far
and say that music plays the main role and the whole play only revolves around music. In order to
prove this, I will show in the following the important functions of music and musical elements.
Firstly, I would like to demonstrate the music's function as a message for both the figures and the
audience, secondly, the music's function as an essential part of the play and last but not least, the
most important function – music as a 'power-tool' for Prospero and in a sense also for Ariel.
Table of Contents
I. Introduction
II. Analysis and Interpretation
1. Music as Message
2. Music as Essential Part of the Play
3. Music as Power-Tool
III. Conclusion
Objectives and Themes
This academic work explores the multifaceted role and significant impact of music and sound elements within William Shakespeare’s play "The Tempest." It investigates how music transcends its function as mere background noise to serve as a structural, communicative, and manipulative force that shapes the actions of characters and influences the audience's perception of the drama.
- The function of music as a narrative and symbolic message.
- Music as a fundamental component of the play's structure and stagecraft.
- The utilization of music as a "power-tool" for Prospero and Ariel.
- The contrast between the musical representations of different characters.
- The psychological impact of music on the figures within the play.
Excerpt from the Book
1. Music as a Message
Following a tradition of “neo-platonic idealization”, music can be the imitation of divine order, but also a “source of riot and disorder” (Trüstedt). Both definitions fit to The Tempest, as we have the awful storm at the very beginning, deliberately caused by Prospero, and on the other hand we have a lot of heavenly music and songs performed by Ariel.
Most of his songs have a message for the hearers, be it for the actors or only for the audience. This can be seen in act I, scene ii, 396-403, when Ariel sings his second song. He is invisible for Ferdinand and his song tells Ferdinand that his father has not survived the shipwreck and drowned. He does not mention even once the words died, dead or drowned, but explains that Alonso has now turned to precious sea treasures on the seabed. Ferdinand understands the message at once but he is not surprised at all, as he already believed his father to be dead and this “ditty […] remember[s] [his] drowned father.” (1. 2. 404). Of course his father is not dead and therefore “the change that is reported [in the song], happens not […] at sea […], but rather here, in and through music.” (Trüstedt).
Summary of Chapters
I. Introduction: This chapter introduces the prevalence of music in the play and establishes the primary research goal of demonstrating its diverse functional roles.
II. Analysis and Interpretation: This main section is divided into three parts: the function of music as a message for characters, the fundamental nature of music in the play's structure, and the use of music as a power-tool by Prospero.
III. Conclusion: The concluding chapter summarizes the importance of music, highlighting its role in enforcing power, emphasizing character traits, and delivering indirect messages throughout the drama.
Keywords
William Shakespeare, The Tempest, Music, Soundscapes, Prospero, Ariel, Drama, Performance, Power-Tool, Symbolism, Narrative, Masque, Theatre, Interpretation, Sound Effects
Frequently Asked Questions
What is the primary focus of this academic work?
The work examines the essential role of music in Shakespeare's "The Tempest," arguing that music is not merely ornamental but a central element that drives the plot and character development.
What are the central thematic areas covered?
The core themes include music as a narrative message, the structural necessity of music in theatrical performance, and music as an instrument of power and manipulation.
What is the central research question?
The research seeks to prove that music plays the main role in the play and explores the specific functions through which it influences both the characters and the audience.
Which methodology is employed in the study?
The author uses a qualitative textual analysis of Shakespeare's "The Tempest," incorporating secondary literature and literary criticism to support the interpretation of musical elements.
What does the main body of the work cover?
It provides an in-depth analysis of how Ariel uses music to control others, how music defines the atmosphere of the island, and how it serves to reconcile or manipulate the characters.
Which keywords characterize this analysis?
Key terms include William Shakespeare, The Tempest, Music, Performance, Power-Tool, and Symbolism.
How does Ariel use music to influence Ferdinand?
Ariel uses music to guide Ferdinand toward Miranda and to influence his emotional state, specifically by singing about his father to prevent him from searching for him.
Why is the contrast between Ariel and Caliban’s music significant?
The contrast between Ariel's "heavenly" music and Caliban's "rude" sounds highlights the differences between the super-human and sub-human characters serving Prospero.
What role does the masque play in the musical structure of the drama?
The masque acts as a play-within-a-play, using music to deliver blessings and highlight the importance of supernatural elements on the island.
Does the power of the island's music affect all characters equally?
No, not all characters are affected; those who are "untuned" to its harmony, like the conspirators Antonio and Sebastian, remain immune to its influence, revealing their corrupted moral state.
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- Anna Miller (Autor:in), 2011, The Role of Music in Shakespeare's 'The Tempest' , München, GRIN Verlag, https://www.grin.com/document/197062
