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Journal articles on the topic 'English pastoral music'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Jenkins, Marty. "English Pastoral Music: From Arcadia to Utopia, 1900–1955." Music Reference Services Quarterly 21, no. 2 (April 3, 2018): 102–3. http://dx.doi.org/10.1080/10588167.2018.1454796.

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2

Iammarino, Denna. "Dressed in Sheep’s Clothing: Pastoral and Reform in Spenser’s A View of the Present State of Ireland." Explorations in Renaissance Culture 47, no. 1 (June 16, 2021): 92–114. http://dx.doi.org/10.1163/23526963-47010007.

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Abstract This study investigates the presence of pastoral themes in Spenser’s prose dialogue, A View of the Present State of Ireland (c. 1596). Tracing the traditional pastoral themes of generational conflict, degeneration, and regeneration in Spenser’s late pastorals, this study considers how Spenser’s inclusion of these pastoral themes shape paradigms of reform in the View. It argues that generational conflict is exacerbated in the colonial space where degeneration is pervasive threatening both the self and the social structure of the English colonial project in Ireland. These connections to
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3

Rugger, David. "English Pastoral Music: From Arcadia to Utopia, 1900–1955, by Eric Saylor." Journal of Musicological Research 38, no. 1 (January 2, 2019): 111–13. http://dx.doi.org/10.1080/01411896.2018.1560759.

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4

Matthews, David. "English Pastoral Music: From Arcadia to Utopia, 1900–1955 by Eric Saylor." Fontes Artis Musicae 65, no. 3 (2018): 181–83. http://dx.doi.org/10.1353/fam.2018.0024.

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5

Vickers, Justin. "English Pastoral Music: From Arcadia to Utopia, 1900–1955 by Eric Saylor." Notes 75, no. 2 (2018): 287–90. http://dx.doi.org/10.1353/not.2018.0105.

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6

Saylor, E. ""It's Not Lambkins Frisking At All": English Pastoral Music and the Great War." Musical Quarterly 91, no. 1-2 (January 24, 2009): 39–59. http://dx.doi.org/10.1093/musqtl/gdn030.

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7

Aspden, Suzanne. "Ballads and Britons: Imagined Community and the Continuity of ‘English’ Opera." Journal of the Royal Musical Association 122, no. 1 (1997): 24–51. http://dx.doi.org/10.1093/jrma/122.1.24.

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Joseph Addison's Spectator is perhaps the best-known early eighteenth-century periodical, its title a byword for the period's acute critical sensibility, its pages of enthusiastic enquiry a fitting monument to what we like to call the ‘Age of Reason’. Of the many commentaries on opera included in its pages, Spectator no. 5 (6 March 1711), critiquing the inadequacy of attempts at scenic verisimilitude on London's operatic stage, is justly renowned. Addison's tale of the undesirable (and wholly unmusical) results of releasing quantities of sparrows inside a theatre derives much of its pungency f
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8

Wise, Tim. "How the yodel became a joke: the vicissitudes of a musical sign." Popular Music 31, no. 3 (October 2012): 461–79. http://dx.doi.org/10.1017/s0261143012000359.

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AbstractAlthough yodelling has been a part of English-language popular music since the early decades of the 19th century, it lacks prestige in contemporary popular music. This essay charts the change in the yodel's fortunes from its use in the early 19th century as a signifier for ideas relating to a pastoral Golden Age to its present-day association with hillbillies and comic stereotypes. It examines the contexts in which yodelling was most frequently heard in order to elucidate its primary associations and connotations. By examining the changing attitudes towards the ideas associated with yo
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9

Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.

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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading.
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10

ZAZZO, LAWRENCE. "‘TROPPO AUDACE’: AMBITION AND MODERATION IN HANDEL'S BILINGUAL REVIVAL OF L'ALLEGRO, IL PENSEROSO, ED IL MODERATO." Eighteenth Century Music 17, no. 2 (September 2020): 215–42. http://dx.doi.org/10.1017/s1478570620000251.

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ABSTRACTWinton Dean described Handel's 1740 ode L'Allegro, il Penseroso, ed il Moderato (hwv55), with its pastoral texts by Milton, as ‘perhaps the profoundest tribute Handel ever paid to the land of his adoption’. Yet for the first revival in January 1741, Handel prepared Italian-texted movements for this quintessentially ‘English’ ode in order to accommodate his star castrato that season, Giovanni Battista Andreoni. With the help of Paolo Rolli, a librettist long associated with Handel and a respected translator of Milton, Handel reset four English-texted arias and one accompagnato with Ital
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11

Van Herpt, Lisa. "Review: English Pastoral Music: from Arcadia to Utopia, 1900-1955. By Eric Saylor. University of Illinois Press, 2017." Junctions: Graduate Journal of the Humanities 4, no. 1 (April 1, 2019): 73. http://dx.doi.org/10.33391/jgjh.52.

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12

Barringer, Tim. "Eric Saylor. English Pastoral Music: From Arcadia to Utopia, 1900–1955. Urbana: University of Illinois Press, 2017. Pp. 245. $45.00 (cloth)." Journal of British Studies 58, no. 2 (April 2019): 449–51. http://dx.doi.org/10.1017/jbr.2019.17.

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13

Déléris, Alban. "Les vies françaises de l’Arcadia : du roman de Sir Philip Sidney à ses adaptations dramatiques en France." Renaissance and Reformation 40, no. 3 (November 24, 2017): 133–56. http://dx.doi.org/10.33137/rr.v40i3.28739.

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Dans les années 1580, Sir Philip Sidney s’attelle à l’écriture de son oeuvre majeure, l’Arcadia, vaste roman pastoral dont la composition inachevée s’étale sur plusieurs années, et la publication posthume. Sa diffusion à l’étranger, et notamment en France, est rapide et l’Arcadia fait en effet l’objet dès le début du XVIe siècle de plusieurs traductions, grâce à plusieurs érudits français qui n’hésitent pas à traverser la Manche pour affiner leur compréhension de la langue anglaise. Par ailleurs, le roman pastoral est adapté à trois reprises sur les scènes françaises, entre le tout début du XV
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14

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistic
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15

Jasper, David. "The Artist and Religion in the Contemporary World." Text Matters, no. 1 (November 23, 2011): 216–27. http://dx.doi.org/10.2478/v10231-011-0016-5.

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Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "d
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16

Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.

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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. How
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17

Talbot, Rachel. "The Influence of the Paris Stage on Kane O’Hara’s Midas." Journal of the Society for Musicology in Ireland, July 17, 2017, 33–66. http://dx.doi.org/10.35561/jsmi12163.

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 Kane O’Hara’s English burletta, Midas (1762), combined many influences, borrowing its airs in the manner of the pasticcio or ballad opera and connecting them with recitative in the manner of opera seria, pantomime, and the masque. The main sources for borrowing are folk music, catches, pantomime, and English and Italian opera. Two airs from Jean-Jacques Rousseau’s opera (or intermède) Le Devin du village (1752) are perhaps the most surprising inclusion. O’Hara’s retention of these two airs in all versions of Midas, along with their rarity, points to their having a particular significanc
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18

McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (August 31, 2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an
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19

Foster, Kevin. "True North: Essential Identity and Cultural Camouflage in H.V. Morton’s In Search of England." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1362.

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When the National Trust was established in 1895 its founders, Canon Rawnsley, Sir Robert Hunter and Octavia Hill, were, as Cannadine notes, “primarily concerned with preserving open spaces of outstanding natural beauty which were threatened with development or spoliation.” This was because, like Ruskin, Morris and “many of their contemporaries, they believed that the essence of Englishness was to be found in the fields and hedgerows, not in the suburbs and slums” (Cannadine 227). It was important to protect these sites of beauty and historical interest from development not only for what they w
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20

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (August 31, 2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi
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