Music In Much Ado About Nothing

In literature, music can be used both to enhance the mood of the plot and it can be used as an actual part of the plot or story line. In Shakespeare's play "Much Ado About Nothing" music is used in both scenarios: both to set the mood and also as part of the actual story, serving as an event in the play, a necessary part in the sequence of events. The mood that is set by the music in the play seems to play a significant role in the progression of the plot in helping the audience become more aware of the character's feelings. Only with the combination of the motives of the music is the message of love able to be portrayed.

It is quite obvious how music is able to have an effect on the mood or tone of an event. By playing slow music the audience gets a more solemn picture that otherwise might not have been portrayed to such an extent without the enhancement of the music. Faster music creates a more excited or anticipatory mood. This type of music is used as a catalyst or a tool for effectiveness in order to trigger emotions or feelings from the audience. It also allows the audience to get in on the feelings of the characters that are not expressed with words.

In Shakespeare's "Much Ado About Nothing" he uses the music as a part of the scenery in order to set the mood. In act 1 scene 2 the stage description is: "[enter Antonio's son with a Musician and Attendants.]" While this might be easy for a play director to portray in performing a play, while reading the play a large part of the effect can be lost. One can hypothesize what type of music would be playing at this point in the play when Leonato is telling his cousins what must be done so "that she may be better prepared for an answer (lines 22-23)". He is trying to undermine the plan that he misunderstands. Leonato is told falsely that Don Pedro intends to pursuit his daughter, Hero.

It is up to the reader to decipher what type of music should be played at this point of the play and through that what type of mood to set. It can be assumed that a mysterious, or conquering with notes of excitement, music should be played. Leonato seems to think he has figured out the mystery thanks to his brother and now he is able to decide on a plan in order to prevent what he believes will happen to happen.

Aside from setting the mood, music plays a large role in the actual sequence of events, in the plot of the play. "Much Ado About Nothing" is a play that is full of wooing, and pursuing women, a very musical time. Whether it is at a dance or by singing love songs, music is always a part of the process, adding both to the mood and the actual conversation and plot.

The music at the dance in act 2 scene 1 allows for a festive, relaxed atmosphere. The masks worn by most of the characters allow them to respond to the music and their feelings without reservations. Interestingly, while the masks do allow the characters to act as themselves, at the same time the characters also seem to be masking their own true selves.

This dance marks a key point in the major theme of treachery and deceiving in the play. Being that the characters are wearing masks it allows for Claudio to hide while Don Pedro leads Hero to believe he is Claudio. Without music and dancing the setting would not allow for all that goes on during this scene. A lot more would be revealed through the silence and lack of other distractions.

As soon as the dancing ends, the crowd begins to disperse, the characters unmask, and the truths seem to unfold. Without the music to shield the sounds of deceit Claudio is told that Don Pedro "swore he would marry tonight". Claudio is immediately ready to forget about his love despite the fact that it was not even his efforts that have failed. He has simply been a wallflower in the active pursuit of Hero, but he still feels very discouraged. Even with music and a mask he is unable to come out as himself and pursuit what he really desires. The setting only allows for someone else to act as he acts or how he wishes he could act. There is not enough masking in the music and physical masks to give Claudio the confidence to act as himself. During act 2 scene 1 music serves as a sort of additional mask for the characters in the play.

In line 68, Beatrice puts a lot of weight on the music. She says, "the fault will be in the music cousin, if you be not wooed in good time". Hero's success seems to be dependent on the music. Later Beatrice continues in line 71, "and so dance out the answer" basically implying that a lot can be accomplished through music and dancing with no essential need for actual words and conversation. At this point in the play, as opposed to the music being a part of the scenery that subconsciously plays a significant role, here the music is a part of the conversation. Music perhaps is the conversation.

The idea of music and dancing being used to express conversation is proven immediately after Hero and Prince begin to dance. Hero says, "So you walk softly, and look sweetly and say nothing, I am yours for the walk, and especially when I walk away (lines 86-88)". Hero seems to have made a decision about her feelings for Prince as soon as they started dancing, while they "say nothing".

In Act 2 Scene 3 music again plays a very significant role. Benedick is able to read Claudio's feelings by what type of music he is listening to. Benedick is going on and on about how Claudio's habits have changed, including his taste in music. He says in lines 13-15, "I have known when there was no music with him but the drum and the fife, and now had he rather hear the tabor and the pipe". Benedick is comparing the military music that Claudio listened to in the past to the dancing music he enjoys now. By Claudio's taste in music Benedick realizes Claudio has "become the argument of his own scorn by falling in love". Music is a pure indication of what Claudio is going through.

Similarly, as the scene continues music continues to be a source of communication, and the topic