Download e-book for iPad: Historical Dictionary of English Music: ca. 1400-1958 by Charles Edward McGuire

Download e-book for iPad: Historical Dictionary of English Music: ca. 1400-1958 by Charles Edward McGuire

By Charles Edward McGuire

This reference seeks to spot and in short annotate quite a lot of matters in terms of English musical tradition, principally from the early fifteenth century via 1958, dates that replicate the coalescence of an identifiable English kind within the early Renaissance and the demise of the long-lasting Ralph Vaughan Williams within the mid-20th century. a few of the really nice "English" composers figuring during this quantity contain Johann Christian Bach, Felix Mendelssohn, and Georg Frideric Handel, besides singers like Jenny Lind and Farinelli and plenty of others.The old Dictionary of English track covers its subject material via a chronological desk of vital occasions, an introductory essay at the heritage of English tune, an intensive bibliography, and over six hundred cross-referenced dictionary entries on humans, venues, repertory, style, and assets. This ebook is a wonderful entry element for college kids, researchers, and someone desirous to be aware of extra approximately English tune in this vital interval.

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The Works of John Dryden, vol. 15, ed. Earl Miner, George Guffey, and Franklin B. Zimmerman (Berkeley: University of California Press, 1976), 8. 7. In Christopher Hogwood, Handel (London: Thames and Hudson, 1984), 101. 8. Charles Burney, A General History of Music, vol. 2 (1789; rpt. New York: Dover, 1957), 405. 9. See Margaret Bent, Dunstaple (Oxford: Oxford University Press, 1981), 1; Andrew Wathey, “Dunstable in France,” Music & Letters 67 (1986): 5. indb 12 3/14/11 10:29 AM INTRODUCTION • 13 10.

ARNE, THOMAS AUGUSTINE (1710–78). English composer, especially prolific in the realm of theater music. While a student at Eton, Arne developed his interest in music. Like George Frideric Handel, with whom he is frequently compared on grounds of both proximity and devotion to the theater, he was for a time trained at law, though musical interests in both cases won out. Arne’s setting of Milton’s masque Comus (1738), his settings of William Shakespeare’s songs for Drury Lane productions (published in a 1741 collection, The Songs in As You Like It and Twelfth Night), and the masque Alfred (1740) all served to establish and strengthen Arne’s leading position in musical circles.

These festivals are one of the reasons that adult summer music camps for amateurs are still so popular within England today. Opera, too, benefited from the hybrid ideals of English music-making and spurred on the production of popular music in ways heretofore not seen in the West. The London opera houses of the 18th century sponsored a truly European amalgamation of composers, singers, and instrumentalists: Germans composing Italian opera (Handel), English composers trained in Italy (Stephen Storace) or writing Italian opera (Thomas Arne’s Artaxerxes [1729]), and Italian singers whipsawing between the English and Italian languages.

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