J. P. E. Harper-Scott (born 3 December 1977 [1] ) is a British musicologist and formerly Professor of Music History and Theory at Royal Holloway, University of London. [2] He is a General Editor of the Cambridge University Press series 'Music in Context'. [3]
John Paul Edward Harper-Scott was born in Easington, County Durham. He was educated at Shotton Hall Comprehensive School, and received an undergraduate degree at Durham University. [4] He subsequently received a D.Phil at the University of Oxford in 2004, for a thesis "Elgar's musical language : analysis, hermeneutics, humanity". [5] He worked at the University of Nottingham and the University of Liverpool before moving to Royal Holloway, University of London. [6] In September 2021, Harper-Scott announced his resignation from Royal Holloway over dissatisfaction with the increasing politicisation of music in academia and attempts to 'decolonise' the curriculum.[ citation needed ]
Known for his work on musical modernism, he has argued that Edward Elgar should be considered 'a subtle and important harbinger of twentieth-century modernism'. [7] He has also established a link between techniques of music analysis and the theories of Jacques Lacan. [8] According to Lawrence Kramer, Harper-Scott's The Quilting Points of Musical Modernism poses a challenge to musicology: he writes that 'the book is a sweeping indictment of musicology and a manifesto for its transformation. Its core thesis is that musicology today is mired in a neoliberal late-Capitalist swamp from which it blindly ignores "our most pressing present concern – to escape the horrors of the present by imagining the transformations of a coming society".' [9] One result of his work is that ideology critique, traditionally associated in musicology with the philosopher Adorno (1903–69), 'has a significant role to play in the future of the discipline'. [10]
Sir Edward William Elgar, 1st Baronet, was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Musicology is the scholarly study of music. Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
Postmodern music is music in the art music tradition produced in the postmodern era. It also describes any music that follows aesthetical and philosophical trends of postmodernism. As an aesthetic movement it was formed partly in reaction to modernism but is not primarily defined as oppositional to modernist music. Postmodernists question the tight definitions and categories of academic disciplines, which they regard simply as the remnants of modernity.
Susan Kaye McClary is an American musicologist associated with "new musicology". Noted for her work combining musicology with feminist music criticism, McClary is professor of musicology at Case Western Reserve University.
New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology—focused on primary research—of the early 20th century and postwar era. Many of the procedures of new musicology are considered standard, although the name more often refers to the historical turn rather than to any single set of ideas or principles. Indeed, although it was notably influenced by feminism, gender studies, queer theory, postcolonial studies, and critical theory, new musicology has primarily been characterized by a wide-ranging eclecticism.
The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term "oratorio" for the work, though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work, and some consider it his masterpiece.
In the arts, maximalism, a reaction against minimalism, is an aesthetic of excess. The philosophy can be summarized as "more is more", contrasting with the minimalist motto "less is more".
Sir Edward Elgar's Symphony No. 2 in E♭ major, Op. 63, was completed on 28 February 1911 and was premiered at the London Musical Festival at the Queen's Hall by the Queen's Hall Orchestra on 24 May 1911 with the composer conducting. The work, which Elgar called "the passionate pilgrimage of the soul", was his last completed symphony; the composition of his Symphony No. 3, begun in 1933, was cut short by his death in 1934.
Gervase Henry Cary-Elwes, DL, better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career.
Nicholas Cook, is a British musicologist and writer born in Athens, Greece. From 2009 to 2017, he was the 1684 Professor of Music at the University of Cambridge, where he is a Fellow of Darwin College. Previously, he was professorial research fellow at Royal Holloway, University of London, where he directed the Arts and Humanities Research Council Research Centre for the History and Analysis of Recorded Music (CHARM). He has also taught at the University of Hong Kong, University of Sydney, and University of Southampton, where he served as dean of arts.
Jeremy Sutherland Begbie, DD, BA, BD, PhD, LRAM, ARCM, FRSCM, is Thomas A. Langford Distinguished Research Professor of Theology at Duke Divinity School, Duke University, where he is the McDonald Agape Director of Duke Initiatives in Theology and the Arts. He is a systematic theologian whose primary research interest is the correlation between theology and the arts, in particular the interplay between music and theology. He is also an Affiliated Lecturer in the Faculty of Music at the University of Cambridge.
John Coates was a leading English tenor, who sang in opera and oratorio and on the concert platform. His repertoire ranged from Bach and Purcell to contemporary works, and embraced the major heldentenor roles in Richard Wagner's operas. For more than 40 years, with only a four-year interruption for military service during World War I, he overcame the limitations of a voice that was not naturally large by impressing listeners with his intense artistic expression, lively diction, musical versatility and memorable stage presence.
Timothy Carter is an Australian musicologist with a special focus on late Renaissance music and Italian Baroque music. An active member of the field of musicology, Carter is a department chair at the University of North Carolina at Chapel Hill, where he holds the position of David G. Frey Distinguished Professor. He has worked on the editorial boards or staffs of a number of prominent musical publications and has published extensively in the field.
Arnold Whittall is a British musicologist and academic. Whittall's research areas have primarily been centred around the musical analysis of 20th-century music and aspects of the nineteenth-century, such as the music of Richard Wagner. He is Professor Emeritus of Musical Theory and Analysis at King's College London, having worked as Professor there between 1975 and 1996.
The Symphony No. 1 by Peter Maxwell Davies was composed between 1973 and 1976, and is dedicated to Sir William Glock, "as a mark of friendship and of appreciation of his work for contemporary music in his years as music controller at the B.B.C.". It was commissioned by the Philharmonia Orchestra, which gave the premiere of the symphony at the Royal Festival Hall, London, on 2 February 1978, with Simon Rattle conducting.
Lawrence Kramer is an American musicologist and composer. His academic work is closely associated with the humanistic, culturally oriented New Musicology, now more often referred to as cultural or critical musicology. Writing in 2001, Alastair Williams described Kramer as a pioneering figure in the disciplinary change that brought musicology, formerly an outlier, into the broader fold of the humanities.
Julian Michael Johnson FBA is a musicologist, specialising in music history and the aesthetics of modern music. Since 2013, he has been Regius Professor of Music at Royal Holloway, University of London. After completing his undergraduate degree at Pembroke College, Cambridge, Johnson studied for his master's degree at the University of Sussex, which also awarded him his doctorate in 1994. He then lectured at Sussex until 2001, when he became a reader in the University of Oxford's Faculty of Music, and a fellow of St Anne's College, Oxford. In 2007, he joined Royal Holloway as Professor of Music.
Thomas James Samson, FBA, commonly known as Jim Samson, is a musicologist, music critic and retired academic. Educated at Queen's University Belfast (BMus) and University College, Cardiff, he was appointed to a research fellowship at the University of Leicester in 1972. He moved to the University of Exeter in 1973 as a lecturer; promotions followed, to reader in 1987 and Professor of Musicology in 1992. In 1994, he was appointed Stanley Hugh Badock Professor of Music at the University of Bristol, and was then Professor of Music at Royal Holloway, University of London, between 2002 and 2011.
This is a summary of 1900 in music in the United Kingdom.