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British Music, Musicians and Institutions, c. 1630-1800
Essays in Honour of Harry Diack Johnstone
-
Peter Lynan
and Julian Rushton -
With contributions by:
Olive Baldwin
, Donald Burrows , Olive Baldwin , Donald Burrows , John Caldwell and Kelly Domoney
Language:
English
Published/Copyright:
2021
About this book
Building upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions.
British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.
British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.
Author / Editor information
Contributor: Peter Lynan
PETER LYNAN is General Editor of Musica Britannica.
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Contributor: Julian Rushton
JULIAN RUSHTON is Emeritus Professor of Music, University of Leeds, UK.
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Contributor: Donald Burrows
Donald Burrows is Professor of Music at the Open University and a leading scholar of the music of George Frideric Handel.
Topics
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Peter Lynan and Julian Rushton Requires Authentication Unlicensed Licensed |
1 |
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Part I. Performers and Performance Style
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Peter Holman Requires Authentication Unlicensed Licensed |
9 |
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Simon McVeigh Requires Authentication Unlicensed Licensed |
32 |
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Michael Talbot Requires Authentication Unlicensed Licensed |
54 |
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Peter Lynan Requires Authentication Unlicensed Licensed |
72 |
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Part II. Composers and Secular Institutions
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Olive Baldwin and Thelma Wilson Requires Authentication Unlicensed Licensed |
91 |
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Alan Howard Requires Authentication Unlicensed Licensed |
106 |
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Susan Wollenberg Requires Authentication Unlicensed Licensed |
129 |
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Simon Heighes Requires Authentication Unlicensed Licensed |
143 |
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Part III. Sacred Music and Institutions
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Tony Trowles Requires Authentication Unlicensed Licensed |
167 |
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John Caldwell Requires Authentication Unlicensed Licensed |
183 |
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Jonathan P. Wainwright Requires Authentication Unlicensed Licensed |
199 |
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Part IV. Dissemination: Copying, Printing, and Publishing
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Donald Burrows Requires Authentication Unlicensed Licensed |
225 |
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Peter Ward Jones and Kelly Domoney Requires Authentication Unlicensed Licensed |
240 |
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Julian Rushton Requires Authentication Unlicensed Licensed |
263 |
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277 |
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279 |
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283 |
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Publishing information
Pages and Images/Illustrations in book
eBook published on:
January 30, 2024
eBook ISBN:
9781800103511
Original publisher:
Boydell Press
Pages and Images/Illustrations in book
eBook ISBN:
9781800103511
Keywords for this book
British Music; Musicians; Institutions; Eighteenth Century; Historical Performance Practice; Music Education; Music-Printing; Social Institutions; Religious Institutions; Secular Institutions; Composition; Performance; Musical Heritage
Audience(s) for this book
For an expert adult audience, including professional development and academic research