The Wild West meets the wives of Windsor: Shakespeare and Music in the Mythological American West
Bibliographic record
Abstract
North America has never had any trouble making Shakespeare its own. Since the first American performance of Shakespeare play in 1730, directors, actors, and musicians have been working to locate the works of the Bard in the United States and Canada. I will examine the music for two Shakespearean productions in the context of this Americanization and especially the ways in which musical material largely understood as "Western" is used to geo- and chronolocate their settings. Lone Star Love transports The Merry Wives of Windsor to the "Wild West," where Col. John Falstaff finds himself in the boomtown of Windsor, Texas. There he schemes with the wives of cattle barons for their husbands' fortunes, but the women are onto his plans and upend them. The music for Lone Star Love was performed by The Red Clay Ramblers band, featuring country and bluegrass tunes. While the setting provides Americanization of the work, it is the music that most clearly locates the action in the American West. A production of The Taming of the Shrew at Bard on the Beach of Vancouver, BC, musically locates the action of the play in the "Wild West" through the use of cues similar to those composed by Ennio Morricone for Clint Eastwood's "Man With No Name" Westerns. These cues, used in conjunction with the play's conflicts between father and daughter, sister and sister, and wooer and beloved, create an aural atmosphere of satire while depicting Kate as a rough-and-ready modern woman of the American West.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.013 | 0.012 |
| Scholarly communication | 0.006 | 0.004 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".