Published in 1922, Christopher Wilson's Shakespeare and Music isn't a dry academic paper. It's the work of a practicing musician who loved the stage. Wilson walks us through the Bard's world, showing how music wasn't just decoration—it was part of the play's machinery. He explains the practical stuff: what instruments were common, who played them, and how they were used to signal entrances, create mood, or accompany a song. He then takes a closer look at the specific musical moments in the plays themselves, from the drunken catches in Twelfth Night to the magical airs in The Tempest.

Why You Should Read It

This book changed how I hear Shakespeare. Before, I sort of glossed over the lines about 'music above' or 'strike up, pipers.' Wilson gives those moments weight and sound. He makes you appreciate Shakespeare not just as a poet, but as a showman who understood the power of a well-placed song or a sudden drumroll. His passion is contagious. You get the sense he'd love nothing more than to hop in a time machine, attend a performance at the Globe, and finally settle the argument about exactly how a certain lyric was sung. It's also a snapshot of early 20th-century scholarship, which is interesting in itself. You're seeing how people a hundred years ago tried to solve a 400-year-old puzzle.

Final Verdict

This is a gem for a specific kind of reader. It's perfect for theatre lovers, amateur musicians, or anyone who's seen a few Shakespeare plays and wants to go deeper. It's not a casual beach read, but it's surprisingly accessible. You don't need to read music to follow along. If you've ever been in a production or just love digging into historical details, Wilson is a brilliant and enthusiastic guide. He pulls back the curtain on a part of Shakespeare's world we often forget: its soundtrack. Just be prepared—next time you watch Much Ado About Nothing, you'll be wondering if that trumpet fanfare is historically accurate.