Academic literature on the topic 'Musical gazette (London, England)'
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Journal articles on the topic "Musical gazette (London, England)"
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Milsom, John. "Songs and society in early Tudor London." Early Music History 16 (October 1997): 235–93. http://dx.doi.org/10.1017/s026112790000173x.
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Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich deposits of evidence: not only high-art music, itself often notated in fine books, but also detailed records of expenditure, of the contractual duties carried out by or expected of musicians, and of valuable assets such as books and musical instruments. Moreover, where magnificence is on show there will often be eyewitness accounts to report on what has been seen and heard. All of those forms of evidence survive in quantity from early Tudor England, and it is hard not to be drawn to them.
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Arblaster, Anthony. "‘A London Symphony’ and ‘Tono-Bungay’." Tempo, no. 163 (December 1987): 21–25. http://dx.doi.org/10.1017/s0040298200023573.
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SHORTLY BEFORE HIS DEATH in 1958 Vaughan Williams told Michael Kennedy, who was already committed to writing the composer's ‘musical biography’, that the coda or Epilogue to the final movement of his A London Symphony had a link with the end of H.G. Wells's novel Tono-Bungay, in which London is evoked as the book's narrator and central character passes down the Thames through the city to the open sea. ‘For actual coda see end of Wells's Tono Bungay’ was the composer's laconic advice. Kennedy then quotes two short passages from the final chapter of Tono-Bungay, and these have since become a standard point of reference for other writers on the symphony. They have appeared in record sleeve and programme notes, and in other places, such as Hugh Ottaway's BBC Music Guide to the Vaughan Williams Symphonies. The most frequently quoted passage is the following:Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and the old devotions, glide abeam, astern, sink down upon the horizon, pass—pass. The river passes—London passes, England passes…
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IRVING, DAVID. "THE PACIFIC IN THE MINDS AND MUSIC OF ENLIGHTENMENT EUROPE." Eighteenth Century Music 2, no. 2 (2005): 205–29. http://dx.doi.org/10.1017/s1478570605000357.
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This article explores the significance of musical, cultural and scientific discoveries in the South Seas to European scholars in the second half of the eighteenth century, but in particular to the emerging clique of music historians in England and France. It examines the relationship between Charles Burney and many leading figures in maritime exploration, and the notable interest he took in the discovery and codification of South Sea music. The writing of Dr Burney on this subject is considered, as is his contact with Omai (Mai), a young Tahitian brought to England. Through the examination of correspondence, memoirs and other sources the article also discusses the exposure of ‘noble savages’ Omai and Aotourou to French and Italian music in London and Paris, and the use of their reactions to fuel the controversy between the supporters of these respective styles in late eighteenth-century Europe. Lastly, it briefly mentions a number of eighteenth-century musical works that used the Pacific as their central theme and examines artwork that complemented the concepts of geographical exploration with the musical exploration of Dr Burney.
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Simons, Gary. "THE SQUAB AND THE IDLER: A COSMOPOLITAN – COLONIAL DIALOGUE IN THE CALCUTTA STAR BETWEEN WILLIAM THACKERAY AND JAMES HUME." Victorian Literature and Culture 42, no. 3 (2014): 387–406. http://dx.doi.org/10.1017/s1060150314000059.
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The first English language newspaper in India began publication in 1780; by 1857, almost two hundred papers and periodicals had appeared – and many had quickly disappeared. An 1839 article in the Calcutta Literary Gazette partially attributed this high mortality rate to a lack of talented writers and to a desire among colonists for news from England: There is not here as there is in London, a class of professional literati, always ready to prepare a certain supply of matter. . . . [T]he London paying system has been introduced, but the writer whose contributions are worth paying for, are a very small body. . . . To all the drawbacks already mentioned we must mention another of no trifling influence; we allude to the disposition in our countrymen to look homewards for their literature. (Chanda xviii-xxi) Indeed, English newspapers of the time featured the contributions of literati such as Charles Dickens, Benjamin Disraeli, George Eliot, Leigh Hunt, Douglas Jerrold, Henry Mayhew, and William Makepeace Thackeray, but of these figures only Thackeray wrote purposely for an Indian periodical.
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Mailes, Alana. "‘MUCH TO DELIVER IN YOUR HONOUR'S EAR’: ANGELO NOTARI’S WORK IN INTELLIGENCE, 1616–1623." Early Music History 39 (September 4, 2020): 219–52. http://dx.doi.org/10.1017/s0261127920000029.
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It has long been surmised that the Paduan singer, lutenist and composer Angelo Notari (1566–1663) was employed as a spy after immigrating to England circa 1610. In examining Venetian counterintelligence papers previously neglected by musicologists, I here confirm that Notari was indeed an intelligencer. More specifically, he was a paid informant for the Venetian State Inquisitors between 1616 and 1619 and participated in a contentious international trial concerning the Venetian ambassador to England, Antonio Foscarini. I argue that Notari's work as a musician was inextricable from his identity as an intelligencer and former Venetian citizen and demonstrate that Italian musicians in Jacobean London significantly influenced international diplomatic relations. By identifying intersections between the two highly social practices of music-making and intelligence-gathering, I encourage greater musicological attention to political networks that transmitted music across borders and, conversely, musical networks that transmitted political intelligence. I thus situate seventeenth-century musical transculturation within its broader diplomatic, confessional and economic contexts.
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Pionke, Albert D. "THE EPISTEMOLOGICAL PROBLEM OF BRITISH INDIA IN RUDYARD KIPLING'S “THE MAN WHO WOULD BE KING”." Victorian Literature and Culture 42, no. 3 (2014): 335–50. http://dx.doi.org/10.1017/s1060150314000023.
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First published in The Phantom Rickshaw (1888), the fifth volume in A. H. Wheeler & Co.'s “Indian Railway Library” series, “The Man Who Would Be King” may be the best and is almost certainly the last story that Rudyard Kipling wrote while still living in India. It is, then, the culmination of an annus mirabilis that saw its twenty-three-year-old author publish six books, albeit short ones, and achieve widespread fame in India. He also garnered sufficient acclaim in England that he would decide to resign his editorial position at George Allen's two Anglo-Indian newspapers, the Civil and Military Gazette and the Pioneer, in favor of a literary life in London. In light of these biographical facts, readers might reasonably expect the story to offer a summative, even authoritative, conclusion about life and empire on the subcontinent that Kipling had represented so abundantly all year.
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Scott, Hannah. "Music Hall, Jigs and Strippers: English Low-Brow Music in French Nineteenth-Century Travel Writing." Forum for Modern Language Studies 55, no. 4 (2019): 397–414. http://dx.doi.org/10.1093/fmls/cqz020.
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Abstract It is a commonplace to remark that nineteenth-century England was a land without music. Yet French travel writers in the fin de siècle remark again and again on their astonishing, low-brow musical encounters in the nation’s capital. The present article examines such experiences in the writing of Jules Vallès and Hector France, as they turn their steps away from the refinement of Covent Garden to seek out more esoteric musical experiences in the music halls, tawdry bars, minor theatres and strip joints of London. These texts present an intriguing and ambivalent textual form to the reader. Though being based on – and structured as – travel anecdotes, they no less insistently reach beyond the anecdotal experience to extrapolate overarching conclusions about the English and their character relative to France. Yet in doing so, their texts reveal inconsistencies and contradictions as they try to reconcile these strange musical experiences with the stereotypes of Englishness that had solidified over the generations; these alien musical experiences resist conceptualization and challenge the tropes that had for so long underwritten French ideas of the English Other.
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Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW." Tempo 59, no. 231 (2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.
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Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to claim either as a Dutch composer. It was in England that Schurmann developed his skills and persona as a musician, after arriving as a teenager in 1941.
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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey." Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.
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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
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Crawford, Sally. "Shifting the Beat: Exploring Tap Dance Performance and Identity on a Global Stage." Congress on Research in Dance Conference Proceedings 2014 (2014): 52–58. http://dx.doi.org/10.1017/cor.2014.7.
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The globalization of tap dance carries the possibility of hybridization as well as homogenization of the dance form. The transmission of tap dance to England during the late-nineteenth and early-twentieth centuries enabled individuals to learn repertoire for syllabus examinations and theatrical productions. In 2006, the implementation of the tap jam, an informal event featuring improvised tap dance and live music, introduced the concept of spontaneous musical and movement composition. The tap jams represent shifting cultural processes in global performances of tap dance. This paper will examine the application of global perspectives in how tap dance is performed and practiced in other countries. My discussion will draw from an ethnographic investigation of two tap dance communities located in Manchester and London, England. Utilizing examples from my fieldwork, I demonstrate how the tap jams in England act as a site for constructing individual performance identity, highlighting a move away from homogenized tap performance.
Dissertations / Theses on the topic "Musical gazette (London, England)"
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Cooper, Amy Nicole. "Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103304/.
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Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.
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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 Gardens<br>Arts, Faculty of<br>Music, School of<br>Accompanied by cassette in Special Collections<br>Graduate
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Kitson, Michael E. "The Sex Pistols and the London mob." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.
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Thesis (Ph.D.) -- University of Western Sydney, 2008.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.
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Kitson, Michael E., University of Western Sydney, College of Arts, and School of Communication Arts. "The Sex Pistols and the London mob." 2008. http://handle.uws.edu.au:8081/1959.7/38784.
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This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren.<br>Doctor of Philosophy (PhD)
Books on the topic "Musical gazette (London, England)"
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Kitson, Richard. The new musical magazine, review, and register, 1809-1810: The English musical gazette, or, Monthly intelligencer, 1819 ; The musical monthly and repertoire of literature, the drama, and the arts, 1864-1865. NISC, 2006.
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BASHFORD, CHRISTINA. PURSUIT OF HIGH CULTURE: JOHN ELLA AND CHAMBER MUSIC IN VICTORIAN LONDON. BOYDELL PRESS, 2007.
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Kitson, Richard. The Quarterly musical magazine and review, 1818-1828. U.M.I., 1989.
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Kitson, Richard. The Quarterly musical magazine and review, 1818-1828. NISC, 1989.
Find full textBook chapters on the topic "Musical gazette (London, England)"
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Ansdell, Gary. "Action Musicing on the Edge: Musical Minds in East London, England." In Where Music Helps: Community Music Therapy in Action and Reflection. Routledge, 2017. http://dx.doi.org/10.4324/9781315084084-5.
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Mercer-Taylor, Peter. "An Immigrant’s Musical Memoir." In Gems of Exquisite Beauty. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190842796.003.0003.
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This chapter centers on the 1819 Original Collection compiled by Arthur Clifton, an English musician who had emigrated to Baltimore in 1817 (changing his name, from Antony Corri, in the process). Though not a commercial success, this pathbreaking volume was the first American publication to present a substantial body of material drawn from European classical music in psalmodic form, containing 21 psalm and hymn tunes culled variously from the work of Gluck, Haydn, Mozart, and Beethoven. Such adaptations had been enjoying a modest vogue in England since around the turn of the century, but only half a dozen or so had appeared in the United States. Clifton relied on existing London publications for inspiration—many of the European melodies he includes had already been adapted by English compilers. But he returns to the classical music sources themselves in almost every case, developing his own meticulously crafted body of adaptations.
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"Joseph Tatlow, Fifty Years of Railway Life in England, Scotland and Ireland (London: The Railway Gazette, 1920), pp. 110–111." In A World History of Railway Cultures, 1830–1930, edited by Matthew Esposito. Routledge, 2020. http://dx.doi.org/10.4324/9781351211802-86.
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Lawrence, Jason. "‘What enchanting Sound salutes my Ear?’: Gerusalemme liberata and the early development of opera in England." In Tasso's Art and Afterlives. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719090882.003.0005.
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By the 1620s, the romantic episodes in Gerusalemme liberata had become popular as a source for operatic libretti. The story of Rinaldo and Armida proved to be the most popular, and eventually, by the end of the seventeenth century, this phenomenon had reached the stage in England, via Italy, France and even Germany. The fourth chapter explores ambitious musical adaptations of the episode for the London stage in the native form of dramatic opera in John Dennis’s Rinaldo and Armida: A Tragedy (1699), with music by John Eccles, and in the through-sung Italianate form in Handel’s Rinaldo, with a libretto by Giacomo Rossi, first performed to great acclaim in 1711. It will also examine the idiosyncratic interpretation, by Paolo Rolli, of a different romantic episode in Tasso, that of Erminia and Tancredi, as the source for another Italianate London opera, Giovanni Bononcini’s L’Erminia favola Boschereccia (1723). These musical works founded, often closely but sometimes more freely, on the Italian poem demonstrate the breadth of Tasso’s impact in England, both chronologically and across a range of art forms.