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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'English pastoral music.'
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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.
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 pastoral themes suggest that Spenser and his colonial peers, such as Lodowick Bryskett, conceive of their lives in pastoral terms intersected with imperial politics.
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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.
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.
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.
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.
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.
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 from the consequences of what Addison feels to be an improper juxtaposition of 'shadows and realities': sparrows and castrati alike escape pastoral fantasy to invade more sordid reality, penetrating ‘a lady's bed-chamber’ or perching ‘upon a king's throne’.
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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.
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 yodelling, the essay analyses the gradual decline in the prestige of the yodelled voice.
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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.
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. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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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.
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 Italian contrafacta and composed a completely new Italian accompagnato and bravura aria for Andreoni, to be performed before the very last chorus. While these Italian-texted movements in macaronic Handel revivals are often either neglected by Handel scholars or dismissed as unfortunate compromises, a textual and musical analysis of the accompagnato ‘L'insaziabil fantasia’ and the aria ‘Troppo audace’ reveals a quasi-operatic mini-scena that had personal and professional resonances for both Handel and Rolli – an artistic manifesto of sorts on moderation, ambition, imitation and freedom within the transnational mid-eighteenth-century European world of letters and music.
Dissertations / Theses on the topic "English pastoral music":
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Hopwood, Paul Andrew. "Frank Bridge and the English pastoral tradition." University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.
This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This trend reflects Bridge's increasingly ambivalent relationship with the English musical establishment, his own radical change of musical language during these years, and significant changes in his personal circumstances. It also reflects the decline of romanticism and the rise of modernism in English music, a paradigm-shift that happened around the time of World War I, considerably later than in the music, literature and visual art of continental Europe. Chapters 1 to 3 examine the English pastoral tradition from three different contexts. Chapter 1 suggests that the English pastoral tradition may be understood as a genre, and describes a number of 'family resemblances' that run through and characterise it. Second, the English pastoral tradition is placed in the context of pastoral art from Classical times to the twentieth century, with a focus on pastoral in English literature. Finally, chapter 3 examines the social and cultural context of the English pastoral tradition and explores resonances between English society in the early twentieth century and the meaningstructures that underpin pastoral. The remaining chapters comprise a series of analytical discussions of six of Frank Bridge's works: Summer (1914-5), the first of the Two Poems (1915), Enter Spring (1926-7), There is a willow grows aslant a brook (1927), Rhapsody-Trio (1928) and Oration (1930). While a variety of analytical techniques are employed, the approach is broadly semiotic and focussed on musical meaning. Each analysis traces the relationships between signifying structures in the works and various musical and non-musical strands of the contextualising cultural discourse. As a result the works become the starting points for relatively wide-ranging discussions in which pastoralism in the music of Frank Bridge is understood as a site at which ideas of English nationalism and international modernism engaged with one another. Frank Bridge's place in this discourse, as revealed in the analyses of his works, becomes increasingly ambivalent and modernist.
Books on the topic "English pastoral music":
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Deiss, Lucien. God's word is our joy: Homilies, readings, prayers, music ; Lent and Easter Cycle A. Phoenix, AZ: North American Liturgy Resources, 1987.
The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed by a distinctive and highly adaptable array of stylistic traits. But in the wake of Finzi’s death in 1956 and Vaughan Williams’s only two years later, English pastoral music fell into relative obscurity. Composers who had written pastoral works in previous decades (including Howells, Ireland, and Bliss) had either largely turned away from the idiom or limited it to certain smaller-scale or niche contexts (such as church music, in Howells’s case). Meanwhile, the rise of both a prominent British avant-garde musical movement during the later 1950s and an extraordinarily vital pop music scene in the following decade made it difficult for the older, less demonstrative pastoral style to hold the public or critical imagination....
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Deacon, George. John Clare and the Folk Tradition. 2nd ed. Francis Boutle Publishers, 2002.
Book chapters on the topic "English pastoral music":
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Shaw-Miller, Simon. "Palmer and the dark pastoral in English music of the twentieth century." In Samuel Palmer Revisited, 123–52. Routledge, 2017. http://dx.doi.org/10.4324/9781315088457-8.
Mann, Joseph Arthur. "Orthodoxy and Cultural Identity through Music in the English Interregnum." In Printed Musical Propaganda in Early Modern England, 75–138. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979237.003.0003.
After the Parliamentarian faction defeated, captured, and executed Charles I in the last years of the 1640s, their quest for political power shifted to establishing and maintaining a new cultural orthodoxy based in Calvinist morality and to solidifying their new-found political power. At the same time, the recently defeated and oppressed Royalist faction sought to maintain their own culture in the face of this new Calvinist orthodoxy. Chapter two examines and exposes how both of these groups made use of musical propaganda to support these conflicting agendas. Parliamentarians hired propagandists or otherwise sanctioned and promoted publications that endorsed psalm-singing (an integral part of the new orthodoxy) and defended it from the even more radical religious beliefs of the Quakers, who were even against psalm-singing in worship services. Royalists, on the other hand, kept the court culture of wine, pastoral imagery, and (now covert) support for the monarchy alive while also reliving their glorious antebellum period through the publication of old antebellum songs and masque libretti and the publication of new songs that comment on the current state of their community, urging perseverance and unity in the face of oppression.
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Hubble, Nick. "‘Her Heritage Was that Tragic Optimism’: Edwardian Pastoral." In The Proletarian Answer to the Modernist Question, 56–86. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474415828.003.0002.
George Orwell suggested that proletarian literature began before the First World War when Ford Madox Ford, the editor of the English Review, met D.H. Lawrence and saw in him the portent of a new class finding expression in literature. Chapter one of this book explores the extent to which Ford was already anticipating the ideas of William Empson in his Edwardian pastoral, which is seen as a mode of discourse concerned with rethinking social relations and a key progenitor of both modernism and proletarian literature. The chapter also discusses Ford and H.G. Wells as uneasy collaborators in ‘music-hall’ modernism and analyses the urban explorations of both Katherine Mansfield and Virginia Woolf.
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Manning, Jane. "TOBIAS PICKER (b. 1954)The Rain in the Trees (1993)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 237–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0066.
This chapter considers a short cycle by Tobias Picker. Each of the four songs are quite varied, ensuring that the singer will need to have a broad range and much agility as well as stamina. These poems are a very far cry from the usual ‘pastoral’, idealized images of nature most commonly found, especially in English music of an earlier period. Picker’s settings expand, enrich, and embellish the verses with substantial piano solos and motivic repetitions. The first two songs reflect on alienation and the failure to communicate. In the third movement, insects are viewed from a novel perspective, with something like rueful affection, as guardians of ecological stability. The last piece is concerned with memory and the passage of time. Indeed, all the poems seem tinged with frustration and regret, at dreams left unfulfilled and opportunities missed.
