- Musical Creativity in Restoration England - eBook
- Musical Creativity in Restoration England by Rebecca Herissone
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Her thorough knowledge of the theoretical and pedagogical musical literature of seventeenth-century England Music Theory in Seventeenth-Century England Oxford, makes the case for the pervasiveness of these principles extremely persuasive.
Musical Creativity in Restoration England - eBook
Herissone argues that advocacy of imitation and example in treatises by Thomas Morley, Christopher Simpson, and Purcell among others was not just aimed at amateurs, but central to professional training—as exemplified through the examination of a series of studies by Daniel Henstridge for which canons by Purcell and Child served as models—and to professional composers.
Herissone differentiates these deliberate procedures from looser similarities between compositions arising from the reuse of a recognized stock of musical signifiers the chromatic descending tetrachord, for instance or the common-places associated with particular genres.
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Musical creativity is juxtaposed with similar approaches to creativity in literature, especially in the writing of plays. However, whereas at the end of the century playwrights, through commercial pressures that began to favour the identity and individuality of the author, moved away from adapting pre-existing plots, composers continued to rely on tried and tested modes of imitative and emulative creativity. Herissone argues convincingly that only through understanding the purpose of Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
Another early proponent of literature in the vernacular was Roger Ascham , who was tutor to Princess Elizabeth during her teenage years, and is now often called the "father of English prose. Typically, the works of these playwrights and poets circulated in manuscript form for some time before they were published, and above all the plays of English Renaissance theatre were the outstanding legacy of the period.
Musical Creativity in Restoration England by Rebecca Herissone
The works of this period are also affected by Henry VIII 's declaration of independence from the Catholic Church and technological advances in sailing and cartography, which are reflected in the generally nonreligious themes and various shipwreck adventures of Shakespeare. The English theatre scene, which performed both for the court and nobility in private performances and a very wide public in the theatres, was the most crowded in Europe, with a host of other playwrights as well as the giant figures of Christopher Marlowe , William Shakespeare and Ben Jonson.
Elizabeth herself was a product of Renaissance humanism trained by Roger Ascham, and wrote occasional poems such as " On Monsieur's Departure " at critical moments of her life. Philosophers and intellectuals included Thomas More and Francis Bacon. All the 16th century Tudor monarchs were highly educated, as was much of the nobility, and Italian literature had a considerable following, providing the sources for many of Shakespeare's plays.
English thought advanced towards modern science with the Baconian Method , a forerunner of the Scientific Method.
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The language of the Book of Common Prayer , first published in , and at the end of the period the Authorised Version "King James Version" to Americans of the Bible had enduring impacts on the English consciousness. England was very slow to produce visual arts in Renaissance styles, and the artists of the Tudor court were mainly imported foreigners until after the end of the Renaissance; Hans Holbein was the outstanding figure. The English Reformation produced a huge programme of iconoclasm that destroyed almost all medieval religious art, and all but ended the skill of painting in England; English art was to be dominated by portraiture , and then later landscape art , for centuries to come.
The significant English invention was the portrait miniature , which essentially took the techniques of the dying art of the illuminated manuscript and transferred them to small portraits worn in lockets.
Though the form was developed in England by foreign artists, mostly Flemish like Lucas Horenbout , the somewhat undistinguished founder of the tradition, by the late 16th century natives such as Nicolas Hilliard and Isaac Oliver produced the finest work, even as the best producers of larger portraits in oil were still foreigners. The portrait miniature had spread all over Europe by the 18th century.
The portraiture of Elizabeth I was carefully controlled, and developed into an elaborate and wholly un-realist iconic style, that has succeeded in creating enduring images. English Renaissance music kept in touch with continental developments far more than visual art, and managed to survive the Reformation relatively successfully, though William Byrd and other major figures were Catholic.
The Elizabethan madrigal was distinct from, but related to the Italian tradition. The colossal polychoral productions of the Venetian School had been anticipated in the works of Thomas Tallis, and the Palestrina style from the Roman School had already been absorbed prior to the publication of Musica transalpina , in the music of masters such as William Byrd.
The Italian and English Renaissances were similar in sharing a specific musical aesthetic.
1stclass-ltd.com/wp-content/gps/3315-zwei-graue-haken.php This is the first study to provide a systematic and thorough investigation of continuo realization styles appropriate to Restoration sacred music, an area of performance practice that has never previously been properly assessed. Rebecca Herissone undertakes detailed analysis of a group of organ books closely associated with the major Restoration composers Purcell, Blow and Humfrey, and the London institutions where they spent their professional lives.
By investigating the relationship between the organ books' two-stave arrangements and full scores of the same pieces, Herissone demonstrates that the books are subtle sources of information to the accompanist, not just short or skeleton scores.
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Using this evidence, she formulates a model for continuo realization of this repertory based on the doubling of vocal parts, an approach that differs significantly from that adopted by most modern editors, and which throws into question much of the accepted continuo practice in modern performance of this repertory.