This three volume study examines Shakespeare's use of music, the performed music in the histories, tragedies, and comedies. By the term "use of music" the author means the dramatic functions served by the performed music in those productions of the plays occurring between 1590 and 1615. This includes the manner of performance, the original music scores or notation used (when possible), and the significance of these data to peripheral problems of interpretation, text, staging, and stage history. This study attempts to meet the interests of students of Elizabethan music, drama in performance, and literature, as well as the producers of Shakespeare faced with practical problems. One of the more remarkable characteristics of the English Renaissance is the sense of kinship and close relationship of the arts, and the alert eye for the practical -- an ethos that should guide producers in any time and place.