Listening exercise
Minnesota Public Radio (MPR): Shakespeare songs
by Marisa Helms
February 18, 2005

Audio
Text and more links

Original texts of Shakespeare's "It was a lover and his lass"
and his Sonnet III


Vocabulary:
probably
popular
to borrow
to inset
Elizabethan
refrain
nonsense syllables
equivalent
scat singing
jazz
sheer pleasure
version
Alfred Deller
Deller Consort
traditional
to expect
lute air
period
brisk
cheerful
quiet
instrument
single
intimate
to dance to (music)
to enjoy
play
to sing along
to take s.t. in
tune
infectious
what we'd think of as
art songs
to enter
common repertoire
Maxine Sullivan
African-American
torch song
Dick Hyman
Broadway
idiom
lass
reaction to
to relate to
clearly
mischievous
styles
Latin beat
cowbell
Cleo Laine
to base s.t. upon
concert
Christine Rosholt
Duke Ellington
Billy (Sammy?) Straighthorn
Arthur Young
Johnny Dankworth
saxophone
to set (words) to (music)
composer
all the way up to the present
to be fascinated by
sonnet
particular
combination
capacity
lyricism
sweetness
wit
sharpness
to reinterpret
contemporary
artist
faddish (like a fad)
specialty song
to live with
batch
for any length of time
endlessly
lyrics
folk songs
to lend oneself to
constant
to reset
to bring out
links
images
MC Honky
"I am the Messiah"
witty
wired
electronic
to make free use of
technologies
to have access to
to mix idioms
brazen
shocking/to shock
contemporaries
event
vocalist
Macalester College
coming up
to come out of
to emerge from
general
air
festivity
celebration
rueful
richness
to warm people up
to go looking for
melodies
sources
setting
to be worth knowing

Listening comprehension questions:

1. What does "hey, nonny, nonny" mean?
2. What might people have done when hearing one of Shakespeare's songs performed within a play?
3. What does the speaker tell us about Maxine Sullivan?
4. How and why does the speaker correct herself when she says "who is a wonderful..."?
5. What is "scat singing"? A "consort"? A "lute"? A
"torch song"? A "specialty song"? A "cowbell"?
6. The speaker mentions that jazz has a capacity for what two contrasting kinds of qualities?
7. How does the speaker argue against the idea that contemporary reinterpretations of Shakespeare's songs are "faddish"?
8. How does the speaker react to the MC Honky piece, and what historical parallels with the piece does she draw?
9. Which of the four sample performances appeals to you personally most, and why?

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