Relevant bibliographies by topics / English music history

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'English music history'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "English music history"

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Breen, Edward. "The history of medieval English music on record." Early Music 45, no. 1 (February 2017): 135–42. http://dx.doi.org/10.1093/em/cax027.

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Porter, Gerald. "The English ballad singer and hidden history." Studia Musicologica 49, no. 1-2 (March 1, 2008): 127–42. http://dx.doi.org/10.1556/smus.49.2008.1-2.7.

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Drawing on Pierre Macherey’s location of ‘real history’ in the silences and gaps of the historical record, this paper studies the changing role of the paid singer in England. Although singers and musicians in England have been rewarded for their performances at all periods, more attention has been given in recent years to traditional singing as a recreational, even domestic activity than as a means of livelihood. Because of their constantly changing social status, the position of the paid singer has been ambiguous and frequently oppositional. A recent book sees their status as one of continuous decline. However, the process was not a continuous and inevitable one: the singer adapted to changes in society and found new sources of support.
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Cook, James. "Angel Song: Medieval English Music in History. By Lisa Colton." Music and Letters 98, no. 3 (August 1, 2017): 472–74. http://dx.doi.org/10.1093/ml/gcx083.

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van Wye, Benjamin, and Stephen Bicknell. "The History of the English Organ." Notes 55, no. 1 (September 1998): 91. http://dx.doi.org/10.2307/900354.

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Coggin, Philip. "‘This easy and agreable Instrument’ A history of the English guittar." Early Music XV, no. 2 (May 1987): 205–20. http://dx.doi.org/10.1093/earlyj/xv.2.205.

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Bjork, Robert E. "The reception history of Beowulf." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 25, no. 1 (September 29, 2020): 1–19. http://dx.doi.org/10.17811/selim.25.2020.1-19.

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This paper traces both the scholarly and popular reception of the Old English epic Beowulf from the publication of the first edition of the poem in 1815 to the most recent English novel based on it from 2019. Once the work was first made available to the scholarly community, numerous editions in various languages began to appear, the most recent being in English from 2008; once editions were published, Old English scholars around the world could translate the text into their native languages beginning with Danish in 1820. Translations, in their turn, made the poem available to a general audience, which responded to the poem through an array of media: music, art, poetry, prose fiction, plays, film, television, video games, comic books, and graphic novels. The enduring, widespread appeal of the poem remains great and universal.
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Schmidt, Sebastian. "New Ways of Analysing the History of Varieties of English – An Acoustic Analysis of Early Pop Music Recordings from Ghana." Research in Language 10, no. 2 (June 30, 2012): 123–31. http://dx.doi.org/10.2478/v10015-011-0045-6.

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Focusing on English in Ghana, this paper explores some ways in which early popular music recordings might be used to reconstruct the phonology of colonial and post-colonial Englishes in a situation where other recordings are (mostly) absent. While the history of standard and, to a certain degree, non-standard varieties of “Inner Circle Englishes” (Kachru 1986) has received linguistic attention, diachronic investigations of Outer Circle varieties are still the exception. For the most part, descriptions of the history of post-colonial Englishes are restricted to sociohistorical outlines from a macro-sociolinguistic perspective with little if any reference to the linguistic structure of earlier stages of the varieties. One main reason for this lack of diachronic studies is the limited availability of authentic historical data. In contrast to spoken material, written sources are more readily available, since early travel accounts, diaries or memoirs of missionaries, traders and administrators often contain quotes and at times there are even documents produced by speakers of colonial Englishes themselves (cf. the diary of Antera Duke, a late 18th century Nigerian slave trader; Behrendt et al. 2010). Such material provides insights into the morphology, syntax and the lexicon of earlier stages of varieties of English (cf. Hickey 2010), but it is inadequate for the reconstruction of phonological systems. Obtaining spoken material, which permits phonological investigation, is far more difficult, since there are comparatively few early recordings of Outer Circle Englishes. In such cases, popular music recordings can fill the gap. I will present first results of an acoustic analysis of Ghanaian “Highlife” songs from the 1950s to 1960s. My results show that vowel subsystems in the 1950s and 1960s show a different kind of variation than in present-day Ghanaian English. Particularly the STRUT lexical set is realized as /a, ɔ/ in the Highlife-corpus. Today, it is realized with three different vowels in Ghanaian English, /a, ε, ɔ/ (Huber 2004: 849). A particular emphasis will also be on the way Praat (Boersma and Weenink 2011) can be used to analyze music recordings.
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Honisch, Erika Supria. "Encounters with Music in Rudolf II's Prague." Austrian History Yearbook 52 (April 5, 2021): 64–80. http://dx.doi.org/10.1017/s0067237821000126.

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AbstractThis article uses three well-known members of Rudolf II's imperial court—the astronomer Johannes Kepler, the composer Philippe de Monte, and the adventurer Kryštof Harant—to delineate some ways music helped Europeans understand identity and difference in the early modern period. For Kepler, the unfamiliar intervals of a Muslim prayer he heard during the visit of an Ottoman delegation offered empirical support for his larger arguments about the harmonious properties of Christian song and its resonances in a divinely ordered universe. For Harant, listening and singing were a means of sounding out commonalities and differences with the Christians and Muslims he encountered on his travels through the Holy Land. Monte sent his music across Europe to the English recusant William Byrd, initiating a compositional exchange that imagined beleaguered Bohemian and English Catholics as Israelites in exile, yearning for Jerusalem. Collectively, these three case studies suggest that musical thinking in Rudolfine Prague did not revolve around or descend from the court or sovereign; rather, Rudolf II's most erudite subjects listened, sang, and composed to understand themselves in relation to others.
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Klakowich, Robert. "Scocca pur: Genesis of an English Ground." Journal of the Royal Musical Association 116, no. 1 (1991): 63–77. http://dx.doi.org/10.1093/jrma/116.1.63.

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Henry Playford's The Second Part of Musick's Hand-maid, the famous collection of keyboard pieces published in London in 1689, contains an anonymous and untitled ground in C minor which has today become well known both for its beauty and for its fine exemplary qualities as a post-Restoration English ground. It also presents us with an interesting study both in authenticity and in compositional evolution, inasmuch as its early history is as engaging as its more recent scrutiny has been controversial. The first half of the piece is reproduced in Figure 1.
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Klein, Tobias Robert. "On the Foundations of Dahlhaus’s Foundations." Journal of Musicology 38, no. 2 (2021): 209–29. http://dx.doi.org/10.1525/jm.2021.38.2.209.

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In the foreword to his Grundlagen der Musikgeschichte (1977), translated into English as Foundations of Music History (1983), Carl Dahlhaus names three reasons for writing the book: the lack of theoretical reflection in his own field; the problem of mediation between methodological maxims and their political implications; and the difficulties he encountered while preparing his history of nineteenth-century music. Each of the three reasons can now be understood more precisely and historically contextualized in light of recently uncovered letters and notes. Dahlhaus’s methodological critiques of political music as conceptually distinct from aesthetically autonomous works—contrary to a popular claim by Anne Shreffler (2003)—were directed mainly at the “Western left.” Moreover, in the 1980s this controversy became intertwined with historiographical questions regarding the concept of “event” that was reinforced in publications by the “Gruppe Poetik und Hermeneutik.” A postscript discusses the English translation of the book and the concept of “structural history” in late Dahlhaus.
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Dissertations / Theses on the topic "English music history"

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Bearman, Christopher James. "English folk music movement 1898-1914." Thesis, University of Hull, 2001. http://hydra.hull.ac.uk/resources/hull:5448.

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The folk music movement was an important influence on English cultural life in the years immediately before the First World War. From remote origins in the 1830s and 1840s and small beginnings in the 1880s and 1890s, it suddenly caught the public mood between 1904 and 1914 and for a brief moment it seemed as though a genuinely indigenous and unifying cultural force might have been found. This proved to be a false hope, but nevertheless the movement has survived and has a continuing place in English cultural historiography. This movement, however, has never been provided with a general history, still less one which has tried to analyse what actually happened. Instead, over the past thirty years since 1970 an interpretation has developed based on Marxist political thought and cultural theory. Coming as it does from a political position based on class conflict and hostility towards nationalism, this interpretation is profoundly antipathetic to the phenomenon it has sought to analyse and has been more concerned to condemn than to understand. It has seen folk song and dance in terms of material expropriated from the working class, misrepresented and transformed in order to reflect 'bourgeois' ideology, and then fed back to the working class via their children in the state education system. Its weakness is that it has never been able to prove these propositions. This thesis attempts to undermine the Marxist interpretation and to provide a firm foundation of research for future analysis. Chapter One is a historiographical survey of the literature showing how it has developed and exposing its lack of a research base. Chapter Two is a narrative intended to provide a connecting thread for the analytical material which follows. Chapter Three examines the folk music organisations. Chapters Four and Five challenge the central assumptions of the Marxist interpretation by showing that the material was not exclusively 'working class', that folk music collection and publication was careful and scrupulous, and that the movement never succeeded in penetrating the state education system to any significant extent before 1914.
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Hughes, Meirion. "The watchmen of music : the reception of English music in the press 1850-1914." Thesis, Cardiff University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287015.

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Shepherd, Janet. "Music, text and performance in English popular theatre 1790-1840." Thesis, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284561.

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Garwood, Eileen. "Profiles of English language music therapy journals." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564809.

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The purpose of this study was to present a content analysis of seven music therapy journals in the English language in order to provide an objective documentation of the longitudinal growth of the field. The current study examined seven English language music therapy journals including the Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy, and The New Zealand Society for Music Therapy Journal. A total of 1,922 articles were coded according to author information (name, credentials, institution, geographic location), mode of inquiry, population studied, and subsequent article citation. Results indicated a broad range of research topics with a rapid rise in music and medicine research beginning in the 1980s. Research authors in music therapy comprise a diverse group of authors both from the United States and abroad. This study highlighted transitions in institutional productivity moving from clinical settings to academic settings. Over the course of 50 years, there have been continuous changes in various aspects of the music therapy literature that document the continuing growth of the profession.

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Andrews, Christine. "Nineteenth century English oratorio festivals : chronicling the monumental in music." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:bdeff62f-fead-42a7-9724-5c79d5c2cdf9.

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Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.

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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process. Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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McKenzie, Hope Bussey. "The Craft of the Old English Glossator: Latin Hymns in the Anglo-Saxon Hymnarium." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332508/.

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The ten hymns of this study cover such overlapping categories as doctrine, solemn occasions in the rites of the Anglo-Saxon Church, and hymns prescribed in the Regularis concordia for the "little hours" of the daily office, as well as a historical overview from the fourth to the early tenth centuries.
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Reilly, Olivia. "An epicure in sound : Samuel Taylor Coleridge and music." Thesis, University of Oxford, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.719835.

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Potter, Tully. "Exporting Reger: Fritz and Adolf Busch and Rudolf Serkin play Max Reger’s Music in the English-speaking Lands." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32322.

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Books on the topic "English music history"

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Henry, Davey. History of English music. Cambridge: Cambridge University Press, 2009.

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Ackroyd, Peter. English music. New York: Knopf, 1992.

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Ackroyd, Peter. English music. London: H. Hamilton, 1992.

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The Oxford history of English music. Oxford [England]: Clarendon Press, 1991.

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Mormonism and music: A history. Urbana: University of Illinois Press, 1989.

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Zuberi, Nabeel. Sounds English: Transnational popular music. Urbana: University of Illinois Press, 2001.

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Carlin, Richard. English and American folk music. New York, N.Y: Facts on File Publications, 1987.

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Carlin, Richard. English and American folk music. New York, N.Y: Facts on File Publications, 1987.

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Jon, Stratton, ed. Britpop and the English music tradition. Burlington, VT: Ashgate, 2010.

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Bennett, Andy. Britpop and the English music tradition. Burlington, VT: Ashgate, 2010.

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Book chapters on the topic "English music history"

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Degott, Pierre. "‘For Music Is Wholesome the Doctors All Think’: The Curative and Restorative Function of Music in Eighteenth-Century English Spas." In Early Modern Literature in History, 159–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66568-5_9.

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"THE ENGLISH POLYPHONIC SCHOOL." In History Of Music, 111–24. Routledge, 2013. http://dx.doi.org/10.4324/9780203040027-12.

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"History of the English Revival." In Folk Music of Britain - and Beyond, 109–40. Routledge, 2015. http://dx.doi.org/10.4324/9781315659619-14.

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"Anglicus angelicus: Was English music political?" In Angel Song: Medieval English Music in History, 51–76. Abingdon, Oxon ; New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315567068-10.

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Zöllner, Eva. "Handel and English oratorio." In The Cambridge History of Eighteenth-Century Music, 541–55. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521663199.020.

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Mackerness, E. D. "Industrial Society and the People’s Music." In A Social History of English Music, 127–52. Routledge, 2013. http://dx.doi.org/10.4324/9781315889078-ch-4.

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Mackerness, E. D. "Music and Society in the Middle Ages." In A Social History of English Music, 13–47. Routledge, 2013. http://dx.doi.org/10.4324/9781315889078-ch-1.

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Mackerness, E. D. "Introductory." In A Social History of English Music, 1–12. Routledge, 2013. http://dx.doi.org/10.4324/9781315889078-ch-101.

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Mackerness, E. D. "Renaissance, Reformation and the Musical Public." In A Social History of English Music, 48–86. Routledge, 2013. http://dx.doi.org/10.4324/9781315889078-ch-2.

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Mackerness, E. D. "The Eighteenth Century." In A Social History of English Music, 87–126. Routledge, 2013. http://dx.doi.org/10.4324/9781315889078-ch-3.

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Conference papers on the topic "English music history"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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