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Authorship is a prescient issue for historical musicology and
musicians more widely, while some controversies concerned with
major figures have even reached wider consciousness. Scholars have
clarified some of the issues at stake in recent decades, such as
the places of borrowing and arranging in the creative process and
the wider cultural significance of these practices. The discovery
of new sources and methodologies has also opened up opportunities
for reassessing specific authorship problems. Drawing upon this
wider musicological literature as well as insights from other
disciplines, such as intellectual history and book history, this
book aims to build on what has already been achieved by focusing on
keyboard music. The nine chapters cover case studies of authorship
problems, the socioeconomic conditions of music publishing, the
contributions of composers, arrangers, copyists and music
publishers in creating notated keyboard compositions, the functions
of attribution and ascription, and how the contexts in which
notated pieces were used affected concepts of authorship at
different times and places.
Research in the field of keyboard studies, especially when
intimately connected with issues of performance, is often concerned
with the immediate working environments and practices of musicians
of the past. An important pedagogical tool, the keyboard has served
as the 'workbench' of countless musicians over the centuries. In
the process it has shaped the ways in which many historical
musicians achieved their aspirations and went about meeting
creative challenges. In recent decades interest has turned towards
a contextualized understanding of creative processes in music, and
keyboard studies appears well placed to contribute to the
exploration of this wider concern. The nineteen essays collected
here encompass the range of research in the field, bringing
together contributions from performers, organologists and music
historians. Questions relevant to issues of creative practice in
various historical contexts, and of interpretative issues faced
today, form a guiding thread. Its scope is wide-ranging, with
contributions covering the mid-sixteenth to early twentieth
century. It is also inclusive, encompassing the diverse range of
approaches to the field of contemporary keyboard studies.
Collectively the essays form a survey of the ways in which the
study of keyboard performance can enrich our understanding of
musical life in a given period.
Research in the field of keyboard studies, especially when
intimately connected with issues of performance, is often concerned
with the immediate working environments and practices of musicians
of the past. An important pedagogical tool, the keyboard has served
as the 'workbench' of countless musicians over the centuries. In
the process it has shaped the ways in which many historical
musicians achieved their aspirations and went about meeting
creative challenges. In recent decades interest has turned towards
a contextualized understanding of creative processes in music, and
keyboard studies appears well placed to contribute to the
exploration of this wider concern. The nineteen essays collected
here encompass the range of research in the field, bringing
together contributions from performers, organologists and music
historians. Questions relevant to issues of creative practice in
various historical contexts, and of interpretative issues faced
today, form a guiding thread. Its scope is wide-ranging, with
contributions covering the mid-sixteenth to early twentieth
century. It is also inclusive, encompassing the diverse range of
approaches to the field of contemporary keyboard studies.
Collectively the essays form a survey of the ways in which the
study of keyboard performance can enrich our understanding of
musical life in a given period.
This collection situates the North-East within a developing
nationwide account of British musical culture. Music in North-East
England provides a wide-ranging exploration of musical life in the
North-East of England during the early modern period. It
contributes to a growing number of studies concerned with
developing a nationwide account of British musical culture. By
defining the North-East in its widest sense, the collection
illuminates localised differences, distinct musical cultures in
urban centres and rural locations, as well as region-wide networks,
and situates regional musical life in broader national and
international contexts. Music in North-East England affords new
insights into aspects of musical life that have been the focus of
previous studies of British musical life - such as public concerts
- but also draws attention to aspects that have attracted less
scholarly attention in histories of early modern British musical
culture: the musical activities and tastes of non-elite consumers;
interactions between art music and cheap print and popular song;
music education beyond London and its satellite environs; the
recovery of northern urban soundscapes; and the careers of
professional musicians who have not previously been the focus of
major published musicological studies.
This book explores the exchange of music, musicians and musical
practice between Britain and the Continent in the period
c.1500-1800. This book explores the exchange of music, musicians
and musical practice between Britain and the Continent in the
period c.1500-1800. Inspired by Peter Holman's research and
performing activities, the essays in the volume developthe theme of
exchange and dialogue through the lenses of people, practices and
repertory and consider the myriad ways in which musical culture
participated in the dynamic relationship between Europe and
Britain. Key areas addressed are music and travel; music
publishing; emigre musicians; performing practice; dissemination of
music and musical practice; and instruments. Holman's work has
revealed the mechanisms by which continental practices were adapted
to local circumstances and has helped to show that Britain enjoyed
a vigorous musical culture in the long eighteenth century, in which
native proponents produced original works of quality and interest
and did not simply copy continental models. Following avenues
opened up by Holman' scholarship, contributors to this volume
explore a variety of ways in which the cross-fertilization of music
and musicians has enriched European, and especially British,
cultureof the early modern period.
Essays highlight the interplay between opera, art and ideology
across three centuries. Three broad themes are opened up from a
variety of approaches: nationalism, cosmopolitanism and national
opera; opera, class and the politics of enlightenment; and opera
and otherness. Opera, that most extravagant of the performing arts,
is infused with the contexts of power-brokering and cultural
display in which it was conceived and experienced. For individual
operas such contexts have shifted over time and new meanings
emerged, often quite remote from those intended by the original
collaborators; but tracing this ideological dimension in a work's
creation and reception enables us to understand its cultural and
political role more clearly - sometimes conflicting with its status
as art and sometimes enhancing it. This collection is a Festschrift
in honour of Julian Rushton, one of the most distinguished opera
scholars of his generation and highly regarded for his innovative
studies of Gluck, Mozart and Berlioz, among many others.
Colleagues, associates and former students pay tribute to his work
with essays highlighting the interplay between opera, art and
ideology across three centuries. Three broad themes are opened up
from a variety of approaches: nationalism, cosmopolitanism and
national opera; opera, class and the politics of enlightenment; and
opera and otherness. British opera is represented bystudies of
Grabu, Purcell, Dibdin, Holst, Stanford and Britten, but the
collection sustains a truly European perspective rounded out with
essays on French opera funding, Bizet, Mozart, Mendelssohn, Verdi,
Puccini, Janacek, Nielsen, Rimsky-Korsakov and Schreker. Several
works receive some of their first extended discussion in English.
RACHEL COWGILL is Professor of Musicology at Liverpool Hope
University. DAVID COOPER is Professor of Music and Technology at
the University of Leeds. CLIVE BROWN is Professor of Applied
Musicology at the University of Leeds. Contributors: MARY K.
HUNTER, CLIVE BROWN, PETER FRANKLIN, RALPH LOCKE, DOMINGOS DE
MASCARENHAS,DAVID CHARLTON, KATHARINE ELLIS, BRYAN WHITE, PETER
HOLMAN, RACHEL COWGILL, ROBERTA MONTEMORRA MARVIN, DAVID COOPER,
RICHARD GREENE, J.P.E. HARPER-SCOTT, DANIEL GRIMLEY, STEPHEN MUIR,
JOHN TYRRELL.
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