Related Research Articles
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.
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.
Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era. It is closely related to the broader concept of Romanticism—the intellectual, artistic and literary movement that became prominent in Europe from approximately 1800 until 1910.
20th-century classical music describes art music that was written nominally from 1901 to 2000, inclusive. Musical style diverged during the 20th century as it never had previously. So this century was without a dominant style. Modernism, impressionism, and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period. Neoclassicism and expressionism came mostly after 1900. Minimalism started much later in the century and can be seen as a change from the modern to post-modern era, although some date post-modernism from as early as about 1930. Aleatory, atonality, serialism, musique concrète, electronic music, and concept music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.
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 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.
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
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 Saint 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".
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 S. Begbie is Thomas A. Langford Distinguished Research Professor of Theology at Duke Divinity School, Duke University, where he directs 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.
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 music scholar, 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 1903 in music in the United Kingdom.
Harry White is an Irish musicologist and university professor. With specialisations in a) Irish musical and cultural history, b) the music of the Austrian baroque composer Johann Joseph Fux, and c) the development of Anglo-American musicology since 1945, he is one of the most widely published and influential academics in his areas of research. White is also a poet, with two published collections of poetry.
This is a summary of 1901 in music in the United Kingdom.
References
- ↑ A Biographical Note, J. P. E. Harper-Scott
- ↑ "J. P. E. Harper-Scott | Royal Holloway, University of London, Department of Music". rhul.ac.uk.
- ↑ "Music in Context".
- ↑ WorldCat entry for thesis
- ↑ "A Biographical Note". 23 September 2011.
- ↑ Jeremy Begbie, 'Confidence and Anxiety in Elgar's "Dream of Gerontius"', in Music and Theology in Nineteenth-Century Britain, edited by Martin Clarke (Farnham: Ashgate, 2012, p. 202
- ↑ David Beard and Kenneth Gloag, eds, Musicology: The Key Concepts, 2nd edn. (London and New York: Routledge, 2016), p. 211.
- ↑ Lawrence Kramer, The Thought of Music (Oakland: University of California Press, 2016), p. 3
- ↑ Jonathan Hicks, 'Musicology for Art Historians', in The Routledge Companion to Music and Visual Culture, edited by Tim Sheppard and Anne Leonard (New York and London: Routledge, 2014), p. 41
