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Nicholas Temperley has pioneered the history of popular church
music in England, as expounded in his classic 1979 study, The Music
of the English Parish Church; his Hymn Tune Index of 1998; and his
magisterial articles in The New Grove. This volume brings together
fourteen shorter essays from various journals and symposia, both
British and American, that are often hard to find and may be less
familiar to many scholars and students in the field. Here we have
studies of how singing in church strayed from artistic control
during its neglect in the 16th and 17th centuries, how the
vernacular 'fuging tune' of West Gallery choirs grew up, and how
individuals like Playford, Croft, Madan, and Stainer set about
raising artistic standards. There are also assessments of the part
played by charity in the improvement of church music, the effect of
the English organ and the reasons why it never inspired anything
resembling the German organ chorale, and the origins of
congregational psalm chanting in late Georgian York. Whatever the
topic, Temperley takes a fresh approach based on careful research,
while refusing to adopt artistic or religious preconceptions.
Haydn's Creation is one of the great masterpieces of the classical period. This absorbing and original account of the work provides an indispensable guide for the concert-goer, performer and student alike. The author places the work within the oratorio tradition, and contrasts the theological and literary character of the English libretto with the Viennese milieu of the first performances. The complete text is provided in both German and English versions as a useful reference point for discussion of the design of the work, the musical treatment of the words, including questions of Haydn's pictorialism, and a detailed examination of the different movement types employed. The book also contains a brief history of the reception of the work with appendices of notes on the changing performance traditions and selected extracts from critical accounts from the nineteenth and twentieth centuries.
Professor Temperley suggests that the Elizabethan metrical psalm
tunes were survivors of a mode of popular music that preceded the
familiar corpus of ballad tunes. Passed on by oral transmission
through several generations of unregulated singing, these once
lively tunes changed gradually into very slow, quavering chants.
Temperley guides the reader through the complex social, theological
and aesthetic movements that played their part in the formation of
the late Victorian ideal of the surpliced choir in every chancel,
and he makes a fresh assessment of that old bugbear, the Victorian
hymn tune. His findings show that the radical liturgical
experiments of the last few years have not dislodged the Victorian
model for the music of the English parish church. This volume
provides an anthology of parish church music of all kinds from the
fifteenth century to the twentieth, newly edited from primary
sources for study or for performance.
This book takes advantage of new and often surprising biographical
research on the Loder family as a whole and its four main figures,
using them to illustrate aspects of music history in the 19th
century. Musicians of Bath and Beyond: Edward Loder (1809-1865) and
his Family illuminates three areas that have recently attracted
much interest: the musical profession, music in the British
provinces and colonies, and English Romantic opera. The Loder
family was pre-eminent in Bath's musical world in the early
nineteenth century. John David Loder (1788-1846) led the theatre
orchestra there from 1807, and later the Philharmonic orchestra and
Ancient Concerts in London; he also wrote the leading instruction
manual on violin playing and taught violin at the Royal Academy of
Music. His son Edward James (1809-65) was a brilliant but
underrated composer of opera, songs, and piano music. George Loder
(1816-68) was a well-known flautist and conductor who made a name
in New York and eventually settled in Adelaide, where he conducted
the Australian premieres of Les Huguenots, Faust, and other
important operas. Kate Fanny Loder (1825-1904) became a successful
pianist and teacher in early Victorian London, and she is only now
getting her due as a composer. This book takes advantage of new and
often surprising biographical research on the Loder family as a
whole and its four main figures. It uses them to illustrate several
aspects of music history: the position of professional musicians in
Victorian society; music in the provinces, especiallyBath and
Manchester; the Victorian opera libretto; orchestra direction;
violin teaching; travelling musicians in the US and Australasia;
opera singers and companies; and media responses to English opera.
The concluding section isan intense analysis and reassessment of
Edward Loder's music, with special emphasis on his greatest work,
the opera Raymond and Agnes. NICHOLAS TEMPERLEY is Professor
Emeritus of Musicology at the University ofIllinois at
Urbana-Champaign and is a leading authority on Victorian music.
CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz
Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie
Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja
Szuster, Nicholas Temperley
This book is the most thorough and extensive history of English
parish church music ever published, covering the period from the
late middle ages to the present day. Through the ages English
parish churches have resounded to all manner of music, ranging from
the rich choral polyphony of Henry VIII's or Victoria's reigns to
the bare unaccompanied psalm tunes of the seventeenth century.
Temperley has found in this neglected field a wealth of fascinating
music, as well as a host of intellectual problems to intrigue the
scholar. A recurring theme of the book is the conflict between two
incompatible goals for Protestant parish church music: artistic
performance and popular expression. Professor Temperley suggests
that the Elizabethan metrical psalm tunes were survivors of a mode
of popular music that preceded the familiar corpus of ballad tunes.
Passed on by oral transmission through several generations of
unregulated singing, these once lively tunes changed gradually into
very slow, quavering chants. This later style, which came to be
called 'the old way of singing', is fully described and explained
here for the first time. Temperley guides the reader through the
complex social, theological and aesthetic movements that played
their part in the formation of the late Victorian ideal of the
surpliced choir in every chancel, and he makes a fresh assessment
of that old bugbear, the Victorian hymn tune. His findings show
that the radical liturgical experiments of the last few years have
not dislodged the Victorian model for the music of the English
parish church.
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Music and the Wesleys (Paperback)
Nicholas Temperley; Edited by Stephen 0 Banfield; Contributions by Stephen 0 Banfield, Jonathan Barry, Martin V. Clarke, …
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Discovery Miles 6 020
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Providing new insight into the Wesley family, the fundamental
importance of music in the development of Methodism, and the
history of art music in Britain, Music and the Wesleys examines
more than 150 years of a rich music-making tradition in England.
John Wesley and his brother Charles, founders of the Methodist
movement, considered music to be a vital part of religion, while
Charles's sons Charles and Samuel and grandson Samuel Sebastian
were among the most important English composers of their time. This
book explores the conflicts faced by the Wesleys but also
celebrates their triumphs: John's determination to elevate the
singing of his flock; the poetry of Charles's hymns and their
musical treatment in both Britain and America; the controversial
family concerts by which Charles launched his sons on their
careers; the prolific output of Charles the younger; Samuel's range
and rugged individuality as a composer; the oracular boldness of
Sebastian's religious music and its reception around the
English-speaking world. Exploring British concert life, sacred
music forms, and hymnology, the contributors analyze the political,
cultural, and social history of the Wesleys' enormous influence on
English culture and religious practices. Contributors are Stephen
Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S.
Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson
McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson,
Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton
R. Young.
RETS Vol. 36. The Whole Book of Psalms, first published in a
complete form in 1562, introduced congregational singing to England
and contained the best known English verse in the early modern
period. Often referred to by later critics as "Sternhold and
Hopkins," it was the dominant hymnal in England until the
mid-eighteenth century and printed until 1861. This critical
edition, the first to include both texts and tunes, is based on the
148 English impressions remaining from the reign of Elizabeth I
along with their Marian predecessors. The appendices include
miniature critical editions of the psalm paraphrases as published
during Edward's reign, additional texts included in some editions,
later musical revisions, and the short tunes that began to replace
the printed ones by the late sixteenth century. Although this is a
scholarly edition with complete critical apparatus, it is also
designed to make this crucial piece of early modern culture
accessible to non-specialists. The texts are in modern spelling and
the tunes in modern notation. The edition offers an extensive
historical essay and notes on each text and tune, and is furnished
with an audio supplement of representative musical settings.
RETS Vol. 37. The Whole Book of Psalms, first published in a
complete form in 1562, introduced congregational singing to England
and contained the best known English verse in the early modern
period. Often referred to by later critics as “Sternhold and
Hopkins,” it was the dominant hymnal in England until the
mid-eighteenth century and printed until 1861. This critical
edition, the first to include both texts and tunes, is based on the
148 English impressions remaining from the reign of Elizabeth I
along with their Marian predecessors. The appendices include
miniature critical editions of the psalm paraphrases as published
during Edward’s reign, additional texts included in some
editions, later musical revisions, and the short tunes that began
to replace the printed ones by the late sixteenth century. Although
this is a scholarly edition with complete critical apparatus, it is
also designed to make this crucial piece of early modern culture
accessible to non-specialists. The texts are in modern spelling and
the tunes in modern notation. The edition offers an extensive
historical essay and notes on each text and tune, and is furnished
with an audio supplement of representative musical settings.
Providing new insight into the Wesley family, the fundamental
importance of music in the development of Methodism, and the
history of art music in Britain, Music and the Wesleys examines
more than 150 years of a rich music-making tradition in England.
John Wesley and his brother Charles, founders of the Methodist
movement, considered music to be a vital part of religion, while
Charles's sons Charles and Samuel and grandson Samuel Sebastian
were among the most important English composers of their time. This
book explores the conflicts faced by the Wesleys but also
celebrates their triumphs: John's determination to elevate the
singing of his flock; the poetry of Charles's hymns and their
musical treatment in both Britain and America; the controversial
family concerts by which Charles launched his sons on their
careers; the prolific output of Charles the younger; Samuel's range
and rugged individuality as a composer; the oracular boldness of
Sebastian's religious music and its reception around the
English-speaking world. Exploring British concert life, sacred
music forms, and hymnology, the contributors analyze the political,
cultural, and social history of the Wesleys' enormous influence on
English culture and religious practices. Contributors are Stephen
Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S.
Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson
McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson,
Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton
R. Young.
Nicholas Temperley has pioneered the history of popular church
music in England, as expounded in his classic 1979 study, The Music
of the English Parish Church; his Hymn Tune Index of 1998; and his
magisterial articles in The New Grove. This volume brings together
fourteen shorter essays from various journals and symposia, both
British and American, that are often hard to find and may be less
familiar to many scholars and students in the field. Here we have
studies of how singing in church strayed from artistic control
during its neglect in the 16th and 17th centuries, how the
vernacular 'fuging tune' of West Gallery choirs grew up, and how
individuals like Playford, Croft, Madan, and Stainer set about
raising artistic standards. There are also assessments of the part
played by charity in the improvement of church music, the effect of
the English organ and the reasons why it never inspired anything
resembling the German organ chorale, and the origins of
congregational psalm chanting in late Georgian York. Whatever the
topic, Temperley takes a fresh approach based on careful research,
while refusing to adopt artistic or religious preconceptions.
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