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Dissertations / Theses on the topic 'English music history'
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1
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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Jacobson, Marin Ruth Tollefson. "Stylistic development in the choral music of Rebecca Clarke." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/988.
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Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet.
Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work.
Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High."
Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works.
Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.
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Ball, William Scott. "Reclaiming a music for England : Nationalist concept and controversy in English musical thought and criticism, 1880-1920. /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1220045089.
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Borschel, Audrey Leonard. "Development of English song within the musical establishment of Vauxhall Gardens, 1745-1784." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26033.
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This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections.
During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook.
In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental
process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the
Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry.
Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall GardensArts, Faculty of
Music, School of
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14
King, Andrew Stewart. "The Folk-Song Society wax cylinder recordings in the English Folk Dance and Song Society wax cylinder collection : context, history, and reappraisal." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61113/.
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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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Story, Brandon H. "Gospel According to Bristol: The Life, Music, and Ministry of Ernest Phipps." [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/766.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-0331103-141813. Includes bibliographical references. Also available via Internet at the UMI web site.
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Goad, John C. "Tracing Appalachian Musical History through Fiction: Representations of Appalachian Music in Selected Works by Mildred Haun and Lee Smith." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2536.
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This research seeks to compare and contrast fictional Appalachian writings by Lee Smith and Mildred Haun to contemporary historical sources in an attempt to trace the development of Appalachian music between the mid-nineteenth century and the late twentieth century. The thesis examines two novels by Lee Smith (The Devil’s Dream and Oral History) and the collection The Hawk’s Done Gone by Mildred Haun, which includes a short novel and several short stories. Contemporary primary sources and scholarly secondary sources were used to compare the fictional works’ depictions of Appalachian music to their historical counterparts. Also included within the thesis is a discussion of Smith and Haun’s personal and research backgrounds and their connections to Appalachian music. Overall, the study found Smith and Haun’s works accurate and based in historical fact, in part due to both writers’ use of historical research and interviews to inform their fiction.
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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.
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Robertson-Kirkland, Brianna Elyse. "Are we all castrati? : Venanzio Rauzzini - 'The father of a new style in English singing'." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7399/.
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Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.
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Witen, Michelle Lynn. "Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.
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Wisdom, Sarah Page. "Ballads, Culture and Performance in England 1640-1660." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/history_theses/50.
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Ballads published during the English Civil Wars and Interregnum were a uniquely potent cultural medium. Ballad authors and publishers used the tools of format and genre, music, and available discourses to translate contentious topics into a form of entertainment. The addition of music to what would otherwise have been merely another form of cheap print allowed ballads to be incorporated into many parts of daily life, through oral networks as well as through print and literacy. Ballads and their music permeated all levels of society and therefore the ideas presented in ballads enjoyed a broad audience. Because any given ballad was subject to repeated performances, its meaning was recreated with each performance. Performances of ballads published in the 1640s and 1650s created a vision of an imaginary England of the past, and projected hope that this past would be restored in the future.
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Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."
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Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
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Williams, Vivien Estelle. "The cultural history of the bagpipe in Britain, 1680-1840." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/5085/.
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Bagpipes and pipers, as cultural identifiers, are embedded within their national culture, charged with symbolisms. British authors have often viewed bagpipes as cultural icons, endowing them with connotations from devilish to virtuous, from rural to military. By analysing literary and artistic references one can perceive how the attitude towards the bagpipe changes with the evolution of Britain’s internal dynamics. Jacobitism contributed in casting a particular light on the bagpipe: it was the ‘voice of the rebellion’. In Scotland this constituted a reason for national pride, while in England the ‘common denominator’ of the Scot-enemy charged the bagpipe with the worst connotations. After Jacobitism stopped being seen as a threat, authors and artists came to view the bagpipe in a different light: the once negative icon was now imbued with ancestral values. The Scot – and the bagpipe by synecdoche – was romanticised: as James Boswell wrote, “The very Highland names, or the sound of a bagpipe, will stir my blood, and fill me with [...] a crowd of sensations with which sober rationality has nothing to do” (1785). The words of many Romantic authors contributed in characterising the instrument, endowing it with implications the influence of which is still relevant today.
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.
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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
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Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
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‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
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Cichy, Andrew Stefan. "'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.
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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.
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Batterson, Teresa E. A. "Variant Versions in Egerton Manuscript 2013." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1197572776.
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Behrami, Drilon. "Maskulinitet, ras och identitet i J. Coles studioalbum 4 Your Eyez Only : Nutidshistoria, kollektivt minne och intersektionalitet i samtida hiphopmusik." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97930.
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This study examines intersectionality and identity in rapper Jermaine Lamarr Cole’s studio album 4 Your Eyez Only. Through discourse analysis, the essay studies the representation of aspects of identity in the album, with a focus on gender, race, class and sexuality. The study also examines prosthetic memory in the album, with the intention of finding correlating narratives that create a general concensus of how society is viewed from marginalised groups in the US. The findings conclude that gender, race and class are expressed as the main buildingblocks for a characters identity in the album. It is telling that sexuality remains untouched in this regard. The reader is exclusively exposed to the normative heterosexual perspective, completely ignoring any notion of varied sexual orientations. Furthermore the findings conclude that J. Cole showcases a generally negative view on the govornment, as it is percieved as one of many instances keeping marginalised groups at the bottom of a societal foodchain
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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry." Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.
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Sims, Scott G. "Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501161/.
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This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.
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McBrayer, Benjamin Marcus. "The Specter of Peter Grimes: Aesthetics and Reception in the Renascence of English Opera, 1945-53." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1216694339.
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Thesis (Master of Music)--University of Cincinnati, 2008.Advisors: Dr. Bruce D. McClung PhD (Committee Chair), Dr. Mary Sue Morrow PhD (Committee Member), Kenneth R. Griffiths MM (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords:Benjamin Britten; Ralph Vaughan Williams; Peter Grimes; The Pilgrim's Progress; Gloriana; Aesthetics; Reception; Reception History; English Opera; Twentieth-Century English Opera Includes bibliographical references.
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Ruhl, Deborah A. "Engaging the Heart: Orthodoxy and Experimentalism in William Gadsby’s A Selection of Hymns for Public Worship." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366221131.
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Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.
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Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Cooke, Stewart J. "Received melodies : the new, old novel." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75693.
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New, old novels, contemporary fictions that parody the forms, conventions, and devices of eighteenth- and nineteenth-century novels, form a significant and increasingly popular subclass of postmodernist fiction. Paradoxically combining realistic and metafictional conventions, these works establish an ironic dialogue with the past, employing yet simultaneously subverting traditional fictional techniques.In this dissertation, I subject five new, old novels--John Barth's The Sot-Weed Factor and LETTERS, Erica Jong's Fanny, T. Coraghessan Boyle's Water Music, and John Fowles's The French Lieutenant's Woman--to a detailed analysis, which compares the parodic role of archaic devices in each contemporary novel to the serious use made of such devices in the past. I argue that new, old novels, by juxtaposing old and new world views, foreground the ontological concerns of fiction and suggest that literary representation is constitutive rather than imitative of reality. Their examination of the relationship between fiction and reality places them at the centre of contemporary concern.
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Küpper, Ulrike [Verfasser]. "William Shakespeare’s A Midsummer Night’s Dream in the History of Music Theater / Ulrike Küpper." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042406022/34.
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Owen, Ceri. "Vaughan Williams, song, and the idea of 'Englishness'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.
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It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.
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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.
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Holman, Jones Stacy Linn 1966. "Music for torching." 2001. http://hdl.handle.net/2152/10542.
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Titlestad, Michael Frank. "Representations of jazz music and jazz performance occasions in selected jazz literature." Diss., 1999. http://hdl.handle.net/10500/16209.
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The founding hypothesis of the study is that creative writers translate jazz music and
performance into discourse by recourse to a number of figurative domains. These translations
map existential, anthropological and political spaces and situate jazz within these. The first
chapter concerns the representation of jazz in the construction of alterity, focussing on the
evocation of the Dionysian spirit of jazz, the parallels between jazz and Bahktin's carnival
and the strategic deployment of 'blackness' in configurations. The second chapter applies the
notion of 'existential integration' in tracing some of the fluid boundaries between the music,
the body of the instrument and the body of the performer in representations. The final
chapter looks at the contrary tendency: the representation of mystical transcendence in the
course of listening to or performing jazz. Underlying each of the three chapters is a concern
with the emergence and propagation of oppositional identities in jazz writing.English Studies
M.A. (English)
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Gruning, Thomas Robert. "Crossroads of the ordinary contemporary singer/songwriters and the post-revival folk /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120297.
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Peterson, Erik C. "Playing, learning, and using music in early Middle Indiana." Thesis, 2013. http://hdl.handle.net/1805/3804.
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Indiana University-Purdue University Indianapolis (IUPUI)This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.
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Eberle, Catherine. "Mediating urban identity : orality, performance and poetry in the work of Koos du Plessis." Thesis, 2002. http://hdl.handle.net/10413/4452.
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In this article I examine as mediations of urban experience poems written by Koos
du Plessis. a contemporary Afrikaans poet. together with their musical rendition by
Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music
scene and former member of Die Gereformeerde Blues Band. The poetry was
initially published with musical arrangements in the volume Kinders van die Wind :
En Ander Lirieke (1981) . In order to use this material in an article produced as part
of an English study . I have translated the poetry into English . The translation (in
linguistic and performative terms) of these poems has the dual effect of rendering
them more appropriately for this study, and making them accessible to a wider
audience. I am concemed with the way poems written by a poet from an earlier
decade (the 1980s) interpret and mediate an urban identity and. further. with the fact
that performance not only gives them a new lease of life. but also transforms them
into works which have meaning and appeal for a more contemporary, broader
audience. The fundamental issues addressed in this poetry , namely a response to
and a negotiation of urban (South African) experience. continue to speak
compellingly today.Thesis (M.A.)-University of Natal, Durban, 2002.
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Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
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In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.