Cover -- Contents -- List of Figures -- List of Music Examples -- List of Tables -- Notes on Contributors -- Acknowledgments -- Introduction -- Part I First, Music: Settings of Congreve's Judgment of Paris -- 1 The Singers of The Judgment of Paris -- 2 Harmonia Anglicana or Why Finger Failed in 'The Prize Musick' -- 3 The 'Prize Musick' of 1701: A Reinvestigation of the Staging Issue -- Part II Mainpiece: The Lively Arts of the London Stage -- 4 Composing after the Italian Manner: The English Cantata 1700-1710 -- 5 Johann Pepusch, Aesthetics, and the Sister Arts -- 6 From Scaramouche to Harlequin: Dances 'in grotesque characters' on the London Stage -- 7 Music, Magic, and Morality: Stage Reform and the Pastoral Mode -- 8 Madness 'Free from Vice': Musical Eroticism in the Pastoral World of The Fickle Shepherdess -- 9 'Let all be husht': Songs in Praise of Anne Bracegirdle and Arabella Hunt -- 10 Burning and Stoic Men: Mad Rants and the Performance of Passionate Pain in the Plays of Nathaniel Lee, 1674 to 1678 -- 11 Appreciating Bononcini's Astianatte (1727): An Italian Opera for the London Stage -- Part III Afterpiece: Comedy, Farce, and Competition -- 12 The Right to Write -- or, Colley Cibber and The Drury-Lane Monster -- 13 'Quotation is the sincerest form of …'?: Signature Songs as Inter-Theatrical References -- Bibliography -- Index.