Journal articles: '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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Brooks, D. "A History of Music Therapy Journal Articles Published in the English Language." Journal of Music Therapy 40, no. 2 (June 1, 2003): 151–68. http://dx.doi.org/10.1093/jmt/40.2.151.

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Hartzell, K. D. "A fragment of a tenth-century English sacramentary." Anglo-Saxon England 46 (December 2017): 259–70. http://dx.doi.org/10.1017/s026367511800008x.

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AbstractAn abiding concern for scholars of the presence of music in Anglo-Saxon England is whether parochial witnesses can reflect a more comprehensive reality. This article discusses a hitherto undiscovered source of information pertinent to this topic. Its conclusions are not as precise as one would want, due to the source's fragmentary nature, but they help us address music in a wider world nevertheless.

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Shreffler, Anne C. "Berlin Walls: Dahlhaus Knepler, and Ideologies of Music History." Journal of Musicology 20, no. 4 (2003): 498–525. http://dx.doi.org/10.1525/jm.2003.20.4.498.

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As exemplified in writings by Carl Dahlhaus and Georg Knepler, a debate about music historiography took place in East and West Germany in the 1960s and 1970s. A comparison between two books, Dahlhaus's Grundlagen der Musikgeschichte (Foundations of Music History) and Knepler's Geschichte als Weg zum Musikverstäändnis (History as a Means of Understanding Music), both published in 1977, is instructive as a measure of the two poles of the Methodenstreit: the one centered around music as autonomous work, the other around music as a human activity. The central questions raised prove uncannily current. The two scholars, who knew each other and respected each other's work, were both based in Berlin; but with Dahlhaus in the West and Knepler in the East, they represented the two different political systems that existed in the divided city between 1945 and 1989. In their work, and especially in these two books, Dahlhaus and Knepler defended their own positions and sought to point out weaknesses in the other side. While Dahlhaus's work is well known in English-speaking musicology, Knepler's is not. His contribution to music history and historiography was comparable to Dahlhaus's in importance, however, and his ideas anticipate many tenets of the "new musicology."

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Ord, Matthew. "From here." Politics of Sound 18, no. 4 (July 3, 2019): 598–616. http://dx.doi.org/10.1075/jlp.18062.ord.

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Abstract This article considers the sonic construction of place in English folk music recordings. Recent shifts in the political context have stimulated renewed interest in English identity within folk music culture. Symbolic struggles over folk’s political significance highlight both the contested nature of English identity and music’s semantic ambiguity, with texts being interpolated into discourses of both ethnic purity and multiculturalism. Following research in popular music, sound studies and multimodal communication this article explores the use of field recording to explore questions of place and Englishness in the work of contemporary folk artists. A multimodal analysis of Stick in the Wheel’s From Here: English Folk Field Recordings (2017) suggests that a multimodal approach to musical texts that attends to the semantic affordances of sound recording can provide insight into folk music’s role in debates over the nature of English identity.

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Turbet, Richard, and John Caldwell. "The Oxford History of English Music. Volume 1: From the Beginning to c.1715." Musical Times 134, no. 1799 (January 1993): 33. http://dx.doi.org/10.2307/1002630.

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Kuykendall, James Brooks. "Composing History: National Identities and the English Masque Revival, 1860–1920. By Deborah Heckert." Music and Letters 100, no. 1 (February 1, 2019): 154–56. http://dx.doi.org/10.1093/ml/gcz018.

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Palmer Heathman, Katie. "Music in the West Country: social and cultural history across an English region." Social History 43, no. 4 (October 2, 2018): 541–43. http://dx.doi.org/10.1080/03071022.2018.1513970.

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Weiss, Jernej. "The Art of Music in the Period from Monteverdi to Bach." Musicological Annual 54, no. 1 (July 3, 2018): 163–68. http://dx.doi.org/10.4312/mz.54.1.163-168.

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The monograph The Art of Music in the Period from Monteverdi to Bach by Jurij Snoj is an original scientific work that brings an in-depth review of the history of European art music during the Baroque Period. In recent times, quite a few scientific monographs about the Baroque Period have been published in English and in other languages,

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Iverson, Jennifer. "FROM ANALOGUE TO DIGITAL: AN INTERVIEW WITH GOTTFRIED MICHAEL KOENIG." Tempo 70, no. 276 (April 2016): 43–55. http://dx.doi.org/10.1017/s0040298215000972.

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AbstractGottfried Michael Koenig (b. 1926) is a seminal figure in the history of electronic music. He contributed important technical and musical ideas at WDR studio in Cologne from 1954 to 1964. He was then the director of the Institute of Sonology in Utrecht, Netherlands until 1986. Since 1986, Koenig has continued to compose, to develop complex computer systems, and to edit, translate, and publish his extensive corpus of theoretical writings.1 This conversation, which aims to foster further English-language scholarship on Koenig and his music,2 took place in English in May 2015 at the Institute of Sonology, now located in The Hague, Netherlands.

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BARONTINI, MICHELE, and TITO M. TONIETTI. "ʿUMAR AL-KHAYYĀM’S CONTRIBUTION TO THE ARABIC MATHEMATICAL THEORY OF MUSIC." Arabic Sciences and Philosophy 20, no. 2 (August 26, 2010): 255–80. http://dx.doi.org/10.1017/s0957423910000032.

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AbstractWe here present the Arabic text, with an English translation, of certain pages dedicated by al-Khayyām to the mathematical theory of music. Our edition is based on a manuscript extant in a library in Manisa (Turkey), and corrects the mistakes found in another transcription. Lastly, we compare the theory of al-Khayyām with other Arabic theories of Music, and with those coming from other traditions.

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Lessen, Martin, and Art Brownlow. "The Last Trumpet: A History of the English Slide Trumpet." Notes 54, no. 2 (December 1997): 484. http://dx.doi.org/10.2307/899543.

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Langley, Leanne. "Music in the West Country: Social and Cultural History across an English Region. By Stephen Banfield." Music and Letters 99, no. 4 (November 1, 2018): 693–96. http://dx.doi.org/10.1093/ml/gcy114.

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O'Loughlin, Niall. "Intellectual Magic: Tradition Infiltrated by Passion in the String Quartets of the English Composer Hugh Wood." Musicological Annual 43, no. 2 (December 1, 2007): 139–52. http://dx.doi.org/10.4312/mz.43.2.139-152.

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Throughout the history of music there has often been a conflict between the old and the new. This applies very much to the music of the English composer, Hugh Wood (b.1932). Studying history, and later composition with Anthony Milner, Iain Hamilton and Mátyás Seiber, he respectively gained from them beauty of music, especially melody, and a mastery of counterpoint; the technique of twelve-note serialism; and a varied and undogmatic approach to composition. This has been reflected in almost universal praise for his music from the critics. Of his five numbered string quartets, the first, fourth and fifth are cast in separate movements, while the second and third play continuously in a large number of linked sections. Quartets Nos.1, 4 and 5 have short separate movements which ostensibly employ traditional forms, ternary, rondo, sonata, scherzo and trio, but in practice give little indication of this because of the vivid but terse ideas and the subtlety of motivic connections that arise from the use of extensive melodic fragments given at the very beginning of each work. The Quartets Nos. 2 and 3 are superficially different in technique, but here Wood groups his numerous sections (39 for No.2 and 24 for No.3) to suggest traditional forms. Again this is deceptive as there is dramatic argument at a detailed level which disguises any obvious connection with these traditional forms. The overall effect is one of drama, enhanced by a strong feeling for the progress of the music. The composer has retained some vestiges of traditional form and other techniques in his music, but at the same time has at all stages enlivened his thematic material with vividness, imagination and a strong sense of musical drama coupled with a strong motivic network. This is the intellectual magic that marks out these quartets as very special.

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Simmonds, Adam. "The Music of George Nicholson." Tempo, no. 183 (December 1992): 18–24. http://dx.doi.org/10.1017/s0040298200017563.

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George Nicholson (b.1949) is one of the generation of composers who emerged in the early 1970s from York University, where he read Music and English. He studied composition under Bernard Rands and, after a period of school teaching, returned to undertake postgraduate composition studies with David Blake, gaining a PhD in 1979. The earliest influence on his work, and probably the most significant in terms of musical philosophy, was Henri Pousseur. Like Pousseur, Nicholson has looked to Schoenberg for a means of finding a path toward a synthesis of old and new, and an awareness of his position in the wider context of musical history.

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Stallsmith, Glenn. "Protestant Congregational Song in the Philippines: Localization through Translation and Hybridization." Religions 12, no. 9 (August 31, 2021): 708. http://dx.doi.org/10.3390/rel12090708.

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Historically, the language of Protestant congregational song in the Philippines was English, which was tied to that nation’s twentieth-century colonial history with the United States. The development of Filipino songs since the 1970s is linked to this legacy, but church musicians have found ways to localize their congregational singing through processes of translation and hybridization. Because translation of hymn texts from English has proven difficult for linguistic reasons, Papuri, a music group that produces original Tagalog-language worship music, bypasses these difficulties while relying heavily on American pop music styles. Word for the World is a Pentecostal congregation that embraces English-language songs as a part of their theology of presence, obviating the need for translation by singing in the original language. Day by Day Ministries, the third case study, is a congregation that translates beyond language texts, preparing indigenous Filipino cultural expressions for urban audiences by composing hybridized songs that merge pre-Hispanic and contemporary forms.

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Temperley, Nicholas, and John Caldwell. "The Oxford History of English Music. Volume 1: From the Beginnings to c. 1715." Notes 49, no. 2 (December 1992): 541. http://dx.doi.org/10.2307/897902.

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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.

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Wehlau, Ruth. "Queen's University." Florilegium 20, no. 1 (January 2003): 106–8. http://dx.doi.org/10.3138/flor.20.030.

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The situation in the departments: Art History, Classics, English, French, German and Russian, History, Music, Spanish and Italian, and Philosophy all offer medieval courses, but the frequency with which these are offered varies. As a result of retirements, many of the smaller departments either have no medievalist or are unable regularly to offer courses in the medieval field.

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Basson, Thomas. "Thomas Basson (1555-1613), English printer at Leiden." Quaerendo 15, no. 3 (1985): 195–224. http://dx.doi.org/10.1163/157006985x00180.

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AbstractSince the appearance in 1961 of the author's Thomas Basson 1555-1613: English Printer at Leiden, a number of new facts have come to light. Moreover, thirty-three new titles can be added to the checklist of Basson's publications, plus a considerable number of theses printed by Thomas Basson. This brings the total number of Basson imprints to c. 450 instead of the original 180. It is now clear, however, that all or nearly all 1585-7 Basson imprints are books or pamphlets printed for him by others. One of the interesting discoveries since 1961 is a copy of The Coniugations in Englishe and Netherdutche (1586), translated and prefaced by Basson himself. It is the first English-Dutch grammar in history, and was dedicated to the Leiden magistrates. New information clarifies Basson's move to Leiden from Cologne in 1583/4 and his involvement in the 'Family of Love', but the evidence remains circumstantial. In 1593/4 the first Basson press was set up. At first it was capable only of very small books and pamphlets, mainly theses, carmina, and auction catalogues. In 1603-6, however, the Basson press got involved in a major publication: Scaliger's Thesaurus temporum. Passages from Scaliger's correspondence show that Thomas Basson and his son Govert were learning their trade the hard way. After 1606 full-length books became a standard feature of their printing house 'At the Sign of the Music-Book'. The 1606 Thesaurus is also interesting because a specially made music-book device on the title page represents an actual piece of music which turns out to be a two-part canon. One other aspect of the Basson press, finally, is also discussed: its apparent interest in occult books.

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Cunningham, John, and Andrew Woolley. "A Little-Known Source of Restoration Lyra-Viol and Keyboard Music: Surrey History Centre, Woking, LM/1083/91/35." Royal Musical Association Research Chronicle 43 (2010): 1–22. http://dx.doi.org/10.1080/14723808.2010.10541029.

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This article presents a detailed account (provenance, codicology and contents) of Surrey History Centre, Woking, MS LM/1 083191/35, a late Restoration manuscript of lyra-viol and keyboard music. Originally from the papers of the More-Molyneux family of Loseley Park, LM/1083191135 is a source of otherwise unknown music by John Moss and Gerhard Diesineer. Two of the lyra-viol pieces in particular demonstrate that the Waking manuscript dates to at least 1687 or 1688, making it the latest known English source of viol music in tablature. The primary purpose of the manuscript seems to have been didactic. It was copied by a single scribe, who was evidently a musician actively engaged with the popular music and current political events of mid- to late-1680s London. LM/1083191/35 allows us a rare glimpse into the amateur musical world of 1680s London.

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Furrow, Melissa. "Dalhousie University." Florilegium 20, no. 1 (January 2003): 125–27. http://dx.doi.org/10.3138/flor.20.038.

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There are only a handful of scholars who have their primary appointments in Dalhousie departments and a primary interest in medieval fields. In French, we have Hans Runte, best known among medievalists for his work on the Seven Sages of Rome, but his more recent publications have been in the field of Acadian letters. In English, we have Hubert Morgan, who works in Middle English, Old Norse, and Old English (romance, saga, and epic are particular interests), and Melissa Furrow, who has finally completed a long labour on reception of romances in medieval England (Expectations of Romance: Drasty Rymyng or Noble Tales, currently under review) and is now returning to an earlier editorial project (Ten Fifteenth-Century Comic Poems) to revise for a new edition with TEAMS. In History, we have Cynthia Neville, well known personally to members of CSM for her extensive work 011 the national and international scene on prize, review, and adjudication committees, and more broadly known through her scholarship on late medieval English legal history and on Scottish social, political, and cultural history. She is the author of Violence, Custom, and Law: The Anglo-Scottish Border Lands in the Later Middle Ages (Edinburgh UP, 1998) and the forthcoming Native Lordship in Anglo-Norman Scotland: The Earldoms of Stratheam and Lennox, 1170-1350 (Four Courts Press). A recent and exciting addition is Jennifer Bain in Music, a music theorist who works on Hildegard of Bingen, and on fourteenth-century music. This tiny number and the clearcut disciplinary boundaries proclaimed by departmental organisation might suggest that medieval study at Dalhousie has fallen off steeply from the days when we had a formally recognised honours degree in Medieval Studies and a bigger pool of faculty. It is true, a bigger pool would be helpful, and the priority within English for the next appointment is for a medievalist. But in various ways medieval studies at Dalhousie does better than it looks as if it should.

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Cole, Suzanne. "‘Popery, Palestrina, and Plain-tune’: the Oxford Movement, the Reformation and the Anglican Choral Revival." Bulletin of the John Rylands Library 90, no. 1 (March 2014): 345–68. http://dx.doi.org/10.7227/bjrl.90.1.16.

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Following an extended period of neglect, the early 1840s saw a dramatic revival of interest in English church music and its history, which coincided with the period of heightened religious sensitivity between the publication of Newman‘s Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845. This article examines the activities and writings of three men who made important contributions to the reformation of the music of the English church that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the painter William Dyce. It pays particular attention to the relationship between their beliefs about and attitudes towards the English Reformation and their musical activities, and argues that such important works as Jebb‘s monumental Choral Service of the United Church of England and Ireland (1843) are best understood in the context of the religious and ecclesiological debates that were raging at that time.

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Docherty, Barbara. "Sentence into Cadence: The word-setting of Tippett and Britten." Tempo, no. 166 (September 1988): 2–11. http://dx.doi.org/10.1017/s0040298200024256.

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When Addressing a text to be set a composer will, at the extremes, offer it violence or reverence, and a sharp-edged exchange was committed to print in the 1960's concerning the correct relation between parole and musica when sentence (or stanza) is made cadence. In his Conclusion to Denis Stevens's A History of Song, Michael Tippett stated that one of the attributes of the song-writer was the ability to destroy all the verbal music of the poetry he set and to substitute ‘the music of music’. Five years later, in his contribution to the Festschrift for Tippett's 60th birthday, Peter Pears made a spirited denial of this ‘Mantis-like’ proposition: the composer should court his text, designing a musical structure compliant to his purpose while according the words the care of the poet whose art they first were. Behind this genteel shadow-boxing lay a wider issue: whether there were definable canons for the setting of English text (as exemplified by Benjamin Britten, since it was against his vocal works that the felicities and inflations Pears discerned in Tippett's 1943 cantata Boyhood's End and 1951 song cycle The Heart's Assurance were implicitly being measured) and whether Tippett's practice flouted them.

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Roud, Steve. "Damnable Practices: Witches, Dangerous Women, and Music in Seventeenth-Century English Broadside Ballads." Folklore 130, no. 2 (April 3, 2019): 210–11. http://dx.doi.org/10.1080/0015587x.2018.1517959.

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Gottlieb, Jean S. "Early Science at the Newberry Library: An Introduction." British Journal for the History of Science 19, no. 3 (November 1986): 323–30. http://dx.doi.org/10.1017/s000708740002330x.

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The Newberry Library of Chicago is an independent history and humanities research library. Its 1.5 million printed books and 4500 linear feet of manuscripts on European and American history, English and American literature, travel and discovery in the New World, and music were, until recently, not thought to include much material on the sciences. A search of the card catalogue has already yielded over 1500 scientific titles, with the likelihood that 700–1000 more will be found, scattered among the Library's collections.

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Whitehead, Maurice. "‘The strictest, orderlyest, and best bredd in the world’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 93, no. 1 (April 10, 2017): 33–49. http://dx.doi.org/10.1177/0184767817698930.

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The English Jesuit college, founded in 1593 at Saint-Omer because of increasing Elizabethan penal legislation against Catholics, soon became the largest post-Reformation Catholic school in the English-speaking world. This article analyses the organization of the school, with particular emphasis on education in drama and music. It was in the environment of this institution that the recently discovered Saint-Omer First Folio almost certainly had its first home, probably left behind following the flight of the English Jesuits and their students to Bruges in 1762, immediately prior to the expulsion of all members of the Society of Jesus from France.

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GOODMAN, GLENDA. "Music before 1800." Journal of the Society for American Music 9, no. 4 (November 2015): 470–76. http://dx.doi.org/10.1017/s1752196315000395.

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Here are two important lessons about information control: first, there is always “too much to know.” This phrase comes from historian Ann Blair, who argues in her book of the same title that in the early modern period the attempt to gather and systematize knowledge was already regarded as a hubristic task. Second, information control is inherently ideological. Think of Denis Diderot and Jean le Rond d'Alembert's magisterial Encyclopédie (1751–77), which in thirty-two volumes attempted to map the world of knowledge and, in doing so, determined what counted as “knowable” and what was ruled out. Equally ambitious and ideological was Noah Webster's American Dictionary of the English Language (advertised 1800, completed 1828), a monumental undertaking aimed at codifying a national language for the new United States. Both of these lessons apply to the pre-1800 articles in AmeriGrove II, and, indeed, to the eight-volume dictionary as a whole. Confronted with the problem of “too much to know,” AmeriGrove II inherits the optimism of its Enlightenment ancestor and endeavors to expand systematically the knowable world of U.S. music history, yet it leaves much uncovered. Moreover, like Webster's dictionary, the focus of AmeriGrove II is confidently national. Whether it echoes Webster's nationalistic stance is a more complicated question, particularly for the articles on pre-1800 topics.

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Goodman, Glenda. "“The Tears I Shed at the Songs of Thy Church”: Seventeenth-Century Musical Piety in the English Atlantic World." Journal of the American Musicological Society 65, no. 3 (2012): 691–725. http://dx.doi.org/10.1525/jams.2012.65.3.691.

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Abstract This essay reconsiders the role of seventeenth-century psalmody in Puritans' religious lives, drawing on a rich yet little-discussed cache of writings about music from New and Old England to show that, contrary to popular belief, Puritans were deeply invested in the affective power of psalm singing as an expression of personal piety. Importantly, treatises about music circulated transatlantically, thus imbricating psalmody in a broader Atlantic-world discourse about the significance of sacred singing. The essay first examines the nature of Puritans' personal piety, an interior and individual experience of faith and communion with God. Then it delves into the theological justification for singing psalms and the method for selecting tunes. Attuning to the importance of individual affective experience brings about a reevaluation of the significance of early American psalmody's “decline” in the early eighteenth century. By tracing the contours of puritan musical thought on both sides of the Atlantic Ocean, this essay also puts forth “Atlantic musicology” as an illuminating approach to early modern music and ultimately challenges the historiographical tendency to view psalmody as the departure point for an exceptional American music history.

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Lefferts, Peter M. "Music in the Medieval English Liturgy: Plainsong and Mediaeval Music Society Centennial Essays.Susan Rankin , David Hiley." Speculum 70, no. 1 (January 1995): 197–99. http://dx.doi.org/10.2307/2864762.

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Kutlay, Evren. "A Historical Case of Anglo-Ottoman Musical Interactions: The English Autopiano of Sultan Abdulhamid II." European History Quarterly 49, no. 3 (July 2019): 386–419. http://dx.doi.org/10.1177/0265691419854922.

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Initiated by Queen Elizabeth I upon sending the Ottoman Sultan Mehmed III an organ, Anglo-Ottoman music-historical relations date back to the sixteenth century. Such interactions continued during the Nizam-ı Cedid (New Order) period of the eighteenth century and became more frequent in the nineteenth century, during the modernization movement of the Ottomans. After the establishment of the Muzıka-yı Hümâyûn (The Imperial Music School), the Ottoman Empire began to import many European musical instruments, including pianos, to Ottoman lands. To this end, some English piano manufacturers became the main piano suppliers of the Ottoman Empire. Among them was Kastner & Co. Ltd. According to two archival files identified in the Turkish Prime Ministry Ottoman Archives in Istanbul, an autopiano was bought for Sultan Abdulhamid II from Kastner & Co. of London in 1907. The files include the receipt of the shipped equipment, its description, and a user’s manual, as well as diplomatic manuscripts about the event. This article summarizes the history of Anglo-Ottoman musical interactions up until this historical trade and analyses these archival files within their historical and cultural contexts.

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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (December 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.

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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.

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Francmanis, John. "The ‘Folk-Song’ Competition: An Aspect of the Search for an English National Music." Rural History 11, no. 2 (October 2000): 181–205. http://dx.doi.org/10.1017/s0956793300002090.

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On 10th April 1902 a sometime landscape artist and self-educated musical antiquarian took his seat in the Drill Hall at Kendal in Westmorland. Frank Kidson, an acknowledged authority on the subject, had been invited there to judge the first ever Folk-Song Competition. In introducing his guest the general adjudicator ‘could only say Mr Kidson was a walking encyclopoedia on these things’.The perceived need for a characteristically English art music bestowed considerable significance on folk-song, for both theory and practice in continental Europe suggested that such material comprised the essential ingredient of any such national music. To contextualise the importance of Kidson's task this article begins by briefly examining the condition of music in England in the late nineteenth century before considering the requirements to be made of this as yet largely untapped national resource.

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Kift, Dagmar. "The Unspeakable Events at the Glasgow Music Halls, 1875." New Theatre Quarterly 11, no. 43 (August 1995): 225–29. http://dx.doi.org/10.1017/s0266464x00009106.

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The history of the music hall has for the most part been written as the history of the London halls. In Dagmar Kift's book, The Victorian Music Hall and Working-Class Culture (the German edition of which was reviewed in NTQ 35, and which is due to appear in English from Cambridge University Press), she attempts to redress the balance by setting music-hall history within a national perspective. Arguing that between the 1840s and the 1890s the halls catered to a predominantly working-class and lower middle-class audience of both sexes and all ages, she views them as instrumental in giving these classes a strong and self-confident identity. The sustaining by the halls of such a distinct class-awareness was one of their greatest strengths – but was also at the root of many of the controversies which surrounded them. The music-hall image of the working class – with its sexual and alcohol-oriented hedonism, its ridicule of marriage, and its acceptance of women and young people as partners in work as in leisure – was in marked contrast to most so-called Victorian values. The following case study from Glasgow documents the shift of music-hall opposition in the 1870s away from teetotallers of all classes attacking alcohol consumption towards middle-class social reformers objecting to the entertainment itself. Dagmar Kift, who earlier published an essay on the composition of music-hall audiences in Music Hall: the Business of Pleasure (Open University Press), is curator of the Westphalian Industrial Museum in Dortmund.

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Stevens, John. "Alphabetical check-list of Anglo-Norman songs c. 1150—c. 1350." Plainsong and Medieval Music 3, no. 1 (April 1994): 1–22. http://dx.doi.org/10.1017/s0961137100000607.

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It is a curiosity of British cultural history that the surviving Anglo-Norman (AN) songs of medieval England have attracted so little interest amongst musicologists English or French. Such knowledge as we have of them is mostly garnered from two pioneering facsimile volumes: Early English Harmony, edited in 1897 for the Plainsong and Mediaeval Music Society by Harry E. Wooldridge; and Early Bodleian Music (1901), an even finer collection, edited by Sir John Stainer, his son and his daughter, with exemplary studies of many of the manuscripts by Bodley's Librarian, Edward B. Nicholson. These two volumes contain about half of the songs listed here. Their French equivalent, Pierre Aubry's Les plus anciens monuments de la musique française (1905), contains two AN songs in facsimile. Others were published at around the same time (‘buried’ might be a better word) in isolated facsimile: El tens d'iver (Baker), Quaunt le russinol (Petersen). Yet others have only recently emerged, or re-emerged, into scholarly consciousness: Volez oyer le castoy (Wilkins), Si tost c'amis (Page, 1988)

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Harris, Ellen T. "With Eyes on the East and Ears on the West: Handel's Orientalist Operas." Journal of Interdisciplinary History 36, no. 3 (January 2006): 419–43. http://dx.doi.org/10.1162/002219506774929863.

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After the formal establishment of an Austrian competitor to the English East India Company (eic) in 1722, the English drew on every resource available to force the Austrian company to close down—not only political pressure and extensive pamphleteering but also the arts. Of the fifteen operas presented by the Royal Academy of Music from 1724 to 1728, twelve, including seven by George Frideric Handel, featured settings in the Orient. Chosen by the directors of the Academy, who were also eic directors and investors, these Oriental settings kept the image of the East in front of aristocratic audiences, including important Members of Parliament, who had the power to assist the East India effort.

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Dibble, Jeremy. "The Oxford History of English Music, vol. 2, From c.1715 to the Present Day (review)." Notes 57, no. 3 (2001): 600–602. http://dx.doi.org/10.1353/not.2001.0013.

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Burgstaller, Georg. "Music in the West Country: Social and Cultural History across an English Region by Stephen Banfield." Notes 76, no. 2 (2019): 282–84. http://dx.doi.org/10.1353/not.2019.0106.

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Garay, Kathleen, and Madeleine Jeay. "McMaster University." Florilegium 20, no. 1 (January 2003): 99–101. http://dx.doi.org/10.3138/flor.20.027.

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Medieval studies are an established part of the curriculum in the Departments of English, French and History at McMaster University. The Middle Ages also figure in courses offered by the Department of Religious Studies. Unfortunately, however, the medieval period is not specifically addressed in the Departments of Philosophy, Music and Art History where the discipline is limited to mentions in survey courses. Overall, we do not have great reason to complain about the present situation. However, we have certainly experienced a loss of scholars over recent years, a loss which is especially marked in the Department of English. We have no assurance that existing positions will be filled when several of the incumbents retire within the next five years.

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CLARK, GEOFFREY. "COMMERCE, CULTURE, AND THE RISE OF ENGLISH POWER." Historical Journal 49, no. 4 (November 24, 2006): 1239–51. http://dx.doi.org/10.1017/s0018246x06005814.

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Barclays: the business of banking, 1690–1996. By Margaret Ackrill and Leslie Hannah. Cambridge: Cambridge University Press, 2001. Pp. xxi+481. ISBN 0-521-79035-2. £45.00.The worlds of the East India Company. Edited by H. V. Bowen, Margarette Lincoln, and Nigel Rigby. Woodbridge: Boydell, 2002. Pp. xvii+246. ISBN 0-85115-877-3. £45.00.Kingship and crown finance under James VI and I, 1603–1625. By John Cramsie. Woodbridge: Boydell, 2002. Pp. xi+242. ISBN 0-86193-259-5. £50.00.Mammon's music: literature and economics in the age of Milton. By Blair Hoxby. New Haven: Yale University Press, 2002. Pp. xii+320. ISBN 0-300-09378-0. $45.00.Usury, interest, and the Reformation. By Eric Kerridge. Aldershot: Ashgate, 2002. Pp. 206. ISBN 0-7546-0688-0. £55.00.The rise of commercial empires: England and the Netherlands in the age of mercantilism, 1650–1770. By David Ormrod. Cambridge: Cambridge University Press, 2003. Pp. xvii+400. ISBN 0-521-81926-1. £55.00.The rhetoric of credit: merchants in early modern writing. By Ceri Sullivan. London: Associated University Presses, 2002. Pp. 217. ISBN 0-8386-3926-7. £38.00.The unshackling of the European economy from the sixteenth to the eighteenth centuries was achieved, ironically, by the forging of new and stronger chains of trade and credit within nations, across regions, and around the globe. The seven books under review explore that process from different disciplinary standpoints, but chiefly as it affected England, the country that would become emblematic of commercial advancement and under whose sway the modern capitalist system emerged. How England managed this feat financially and commercially, politically and culturally, amidst the shifting opportunities and perils of these centuries is answered with an often impressive sophistication and imagination that take us well beyond hackneyed analyses prompted by the Weber–Tawney thesis.

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Kisby, Fiona. "A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII." Early Music History 16 (October 1997): 203–34. http://dx.doi.org/10.1017/s0261127900001728.

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Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.

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Journal articles on the topic 'English music history'

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