10 Political Visions, National Identities, and the Sea Itself: Stanford and Vaughan Williams in 1910

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Tables and Illustrations ix
4. Musical Examples xi
5. Contributors xv
6. Acknowledgements xviii
7. Introduction: Behold the Sea 1
8. The Sea as Geography
9. 1 ‘Britannia Rule the Waves’: Maritime Music and National Identity in Eighteenth-Century Britain 9
10. 2 Scotland, the ‘Celtic North,’ and the Sea: Issues of Identity in Bantock’s Hebridean Symphony (1915) 31
11. 3 Sea Change: A Meditation upon Frank Bridge’s Lament: To Catherine, Aged 9, ‘Lusitania’ 1915 51
12. 4 Crosscurrents in the Britten Legacy: Two Visions of Aldeburgh 67
13. The Sea as Profession
14. 5 ‘Come away, fellow sailors’: Musical Characterization of the Nautical Profession in Seventeenth-Century England 81
15. 6 Jolly Jack Tar: Musical Caricature and Characterization of the British Sailor, c. 1875–1925 105
16. 7 Fishers of Men: Maritime Radio and Evangelical Hymnody in the Scottish Fishing Industry, 1950–65 127
17. 8 Amanuensis of the Sea: Peter Maxwell Davies’s Symphonies Nos. 1 and 2 and the Antarctic Symphony 151
18. The Sea as Metaphor
19. 9 Three Journeys, Two Paths: Locating the Lyric and Dramatic in Elgar’s Sea Pictures 177
20. 10 Political Visions, National Identities, and the Sea Itself: Stanford and Vaughan Williams in 1910 205
21. 11 Bax’s ‘Sea Symphony’ 225
22. 12 ‘Close your eyes and listen to it’: Special Sound and the Sea in BBC Radio Drama, 1957–59 251
23. Afterword: Channelling the Swaying Sound of the Sea 267
24. Index 279