Beyond Boundaries

Description

The following audio recordings were performed by Terence Charlston.

Saraband (anonymous), mm. 1-8, from GB-Llp MS 1040, f. 13v (used as the basis of the five versions available in audio files) Music Example 1. Saraband from Lambeth Palace, MS 1040 f.24v, mm. 1-8, version 1 Music Example 2. Saraband from Lambeth Palace, MS 1040 f.24v, mm. 1-8, version 2 Music Example 3. Saraband from Lambeth Palace, MS 1040 f.24v, mm. 1-8, version 3 Music Example 4. Saraband from Lambeth Palace, MS 1040 f.24v, mm. 1-8, version 4 Music Example 5. Saraband from Lambeth Palace, MS 1040 f.24v, mm. 1-8, version 5

English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.

Acknowledgements
Note on Transcription
List of Abbreviations and Library Sigla
Introduction: Re-Thinking Boundaries in Musical Practice and Circulation / Linda Phyllis Austern, Candace Bailey, and Amanda Eubanks Winkler
1. Tudor Musical Theater: Sounds of Religious Change in Ralph Roister Doister / Katherine Steele Brokaw
2. English Jesuit Missionaries, Music Education, and the Musical Participation of Women in Devotional Life in Recusant Households from ca. 1580 to ca. 1630 / Jane Flynn
3. The Transmission of Lute Music and the Culture of Aurality in Early Modern England / Graham Freeman
4. Thomas Campion's "superfluous blossomes of his deeper studies": the Public Realm of His English Ayres / Christopher R. Wilson
5. Oyez! Fresh Thoughts About the "Cries of London" Repertory / John Milsom
6. "Locks, bolts, barres, and barricados": Song Performance and Spatial Production in Richard Brome's The Northern Lass / Katherine R. Larson
7. "Lasting-Pasted Monuments": Memory, Music, Theatre, and the Seventeenth-Century English Broadside Ballad / Sarah F. Williams
8. The Challenge of Domesticity in Men's Manuscripts in Restoration England / Candace Bailey
9. A Mid-Century Musical Friendship: Silas Taylor and Matthew Locke / Alan Howard
10. Music and Merchants in Restoration London / Bryan White
11. Daniel Henstridge and the Aural Transmission of Music in Restoration England / Rebecca Herissone
12. Courtly Connections: Queen Anne, Music, and the Public Stage / Amanda Eubanks Winkler
13. Disseminating and Domesticating Handel in Mid-Eighteenth-Century Britain / Suzanne Aspden
14. From London's Opera House to the Salon? The Favourite (and not so "Favourite") Songs from the King's Theatre / Michael Burden
15. Education, Entertainment, Embellishment: Music Publication in the Lady's Magazine / Bonny H. Miller
Selected Bibliography
Index

Sujets

• Musique
• Culture musicale
• Histoire de la musique
• MUSIC
• Inglaterra
• Multiple signal classification
• Early modern period
• Criticism
• General officer
• History of classical music traditions
• History of Europe
• General
• Cultural Studies
• History
• England

Informations

• Publié par: Indiana University Press
• Date de parution: 13 février 2017
• Nombre de lectures: 0
• EAN13: 9780253024978
• Langue: English

Extrait

Beyond
Boundaries
MUSIC AND THE EARLY MODERN IMAGINATION Massimo Ossi, editor
Beyond
Boundaries
Rethinking Music Circulation in Early Modern England
Edited by
LINDA PHYLLIS AUSTERN, CANDACE BAILEY, and AMANDA EUBANKS WINKLER
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
2017 by Indiana University Press
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials,
ANSI Z39.48-1992.
Manufactured in the United States of America
Cataloging information is available from the Library of Congress.
ISBN 978-0-253-02479-4 (cloth)
ISBN 978-0-253-02482-4 (paperback)
ISBN 978-0-253-02497-8 (ebook)
1 2 3 4 5 22 21 20 19 18 17
We dedicate this book to our contributors .
C ONTENTS
Acknowledgments
Note on Transcription
List of Abbreviations and Library Sigla
Introduction: Rethinking Boundaries in Musical Practice and Circulation / Linda Phyllis Austern, Candace Bailey, and Amanda Eubanks Winkler
1. Tudor Musical Theater: Sounds of Religious Change in Ralph Roister Doister / Katherine Steele Brokaw
2. English Jesuit Missionaries, Music Education, and the Musical Participation of Women in Devotional Life in Recusant Households from ca. 1580 to ca. 1630 / Jane Flynn
3. The Transmission of Lute Music and the Culture of Aurality in Early Modern England / Graham Freeman
4. Thomas Campion s Superfluous Blossomes of His Deeper Studies : The Public Realm of His English Ayres / Christopher R. Wilson
5. Oyez! Fresh Thoughts about the Cries of London Repertory / John Milsom
6. Locks, Bolts, Barres, and Barricados : Song Performance, Gender, and Spatial Production in Richard Brome s The Northern Lass / Katherine R. Larson
7. Lasting-Pasted Monuments : Memory, Music, Theater, and the Seventeenth-Century English Broadside Ballad / Sarah F. Williams
8. The Challenge of Domesticity in Men s Manuscripts in Restoration England / Candace Bailey
9. A Midcentury Musical Friendship: Silas Taylor and Matthew Locke / Alan Howard
10. Music and Merchants in Restoration London / Bryan White
11. Daniel Henstridge and the Aural Transmission of Music in Restoration England / Rebecca Herissone
12. Courtly Connections: Queen Anne, Music, and the Public Stage / Amanda Eubanks Winkler
13. Disseminating and Domesticating Handel in Mid-Eighteenth-Century Britain / Suzanne Aspden
14. From London s Opera House to the Salon? The Favourite (and Not So Favourite ) Songs from the King s Theatre / Michael Burden
15. Education, Entertainment, Embellishment: Music Publication in the Lady s Magazine / Bonny H. Miller
Selected Bibliography
List of Contributors
Index
A CKNOWLEDGMENTS
This book would not have been possible without the assistance of many. We would especially like to thank Raina Polivka, sponsoring editor from Indiana University Press, for her encouragement and support from the beginning. We are also indebted to the two anonymous readers who provided such incisive comments. Special thanks go to Northwestern University musicology PhD student and fellow member of the North American British Music Studies Association, Jason Rosenholtz-Witt, for tackling the onerous task of compiling and checking the master bibliography for the volume. We are grateful to our contributing authors for writing such interesting and varied essays for this collection. We also recognize that our work would not be possible without the assistance of the staff working in the institutions cited in the individual essays, and we sincerely appreciate their help in locating and making available resources for this book. Finally, it has been a pleasure to work with one another from early discussions about the circulation of music in early modern England through the final stages of preparing this study. We are most grateful to our families, who, as usual, have put up with us working through nights, weekends, and summer vacations.
N OTE ON T RANSCRIPTION
Quotations from early modern sources retain original spellings, capitalization, and punctuation with these exceptions: the y used as a thorn has been changed to th and the use of i, j, u , and v have been modernized for ease of reading.
A BBREVIATIONS AND L IBRARY S IGLA
A BBREVIATIONS
BDECM
A Biographical Dictionary of English Court Musicians 1485-1714
DNB
Dictionary of National Biography
ECP
Eighteenth-Century Periodicals
GMO
Grove Music Online
OED
Oxford English Dictionary Online
L IBRARY SIGLA
B (Belgium)
Bc
Brussels Conservatoire
D (Germany)
Hs
Staats- und Universit tsbibliothek Carl von Ossietzky, Musikabteilung
GB (Great Britain)
AB
Aberystwyth, National Library of Wales
Cfm
Cambridge, Fitzwilliam Museum
Ckc
Cambridge, King s College, Rowe Music Library
Cssc
Cambridge, Sydney Sussex College
Cu
Cambridge University Library
ERO
Essex Record Office
Eu
Edinburgh, University Library, Main Library
Ge
Glasgow, Euing Music Library
GL
Gloucester, Cathedral Library
Lbl
London, British Library
Lcm
London College of Music
Lg
London, Guildhall Library
Ob
Oxford, Bodleian Library
Och
Oxford, Christ Church
TNA
The National Archives, Kew
J (Japan)
Tn
Tokyo, Nanki Music Library
US (United States)
NH
New Haven, Yale University, Music Library
NYp
New York, New York Public Library for the Performing Arts, Music Division
Beyond
Boundaries
Introduction: Rethinking Boundaries in Musical Practice and Circulation
Linda Phyllis Austern, Candace Bailey, and Amanda Eubanks Winkler
The fifteen essays in this collection reconsider ways in which musical practice and circulation in early modern England negotiated boundaries, demonstrating how music and musicians fluidly moved between social and professional hierarchies, oral/aural and written traditions, and sacred and secular contexts. 1 From the mid-sixteenth century to the end of the eighteenth century, musical spaces were elided among home, stage, court, church, and street, and musical collaborations triumphed over national, vocational, and confessional differences. Gender norms were relaxed and reconfigured, and labor and leisure overlapped for the performance and consumption of music. Through patterns of circulation and use, the public became private, the private public, and the musical dicta of etiquette and pedagogical manuals were suspended.
This book began as a series of conversations among several contributors. It became increasingly evident that many of the categories applied to seventeenth-century English music making are anachronistic. Most immediately questionable, we found, were hard divisions between the public and the private and amateur and professional musicianship. Actual patterns of practice, especially as evident in manuscripts and eyewitness accounts, were far more nuanced than theoretical bifurcation allows. As our discussions expanded into the sixteenth and eighteenth centuries, we realized that other widely accepted oppositions such as female and male, Catholic and Protestant, oral and written, high art and popular, and creator and consumer were more set in modern scholarship than in historical practice. Even the clean division of institutional music making into court, church, theater, and chamber so beloved by introductory textbooks became murky as we considered the contents of manuscripts, title pages and dedications of print collections, mass-market circulars such as broadsides and magazines, and performance practices for anything classified as dramatic or theatrical. The picture was further complicated by subtle and changing notions of gender, class status, social circulation, and networks of friendship and patronage; even the inherent inequality and power dynamic between teacher and student varied across time and according to instructional context. 2
As we looked from Tudor England to Georgian Britain, we recognized the extent to which changes in media technologies, architectural space, and institutions-including court and theater-influenced musical practice. National and familial politics, especially during the seventeenth century, redefined performance spaces and associated repertories as well as distinctions between amateur (or recreational) and professional (or occupational) musicianship. 3 The years covered by this book-between ca. 1550 and 1800-were particularly tumultuous ones for the English/British political and related social systems. They witnessed a transition between absolute and constitutional monarchies with a period of commonwealth government. They also saw multiple redefinitions of official state religion and plural patterns of change to family structures, educational programs, and notions of community. Each of these influenced the circulation and consumption of music. The first permanent playhouses and spaces designated as theaters arose during this period, as did a culture of public concerts; these coincided with the explosive growth of a native music-printing industry that enabled the spread of standardized content from one point of origin and one sort of musician or consumer to a multiplicity of others. Above all, musical practice emerged as a complex social process that united and divided individuals and groups across space, place, and even time. The contents of this book reflect these nuances.
One of the thorniest concerns from which many of these essays arose is the fluid interplay betwee