Book contents
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Introduction
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Summary
THIS COLLECTION OF ESSAYS is offered to John Caldwell in celebration of his seventieth birthday, by colleagues, ex-students, and friends. It is an indication of John's polymath tendencies and eclectic interests that the essays of his erstwhile DPhil students have such a wide range, from medieval chant through polyphony, Purcell and performance culture to twentiethcentury historiography. It is a further indication of his wide range that those contributors who are colleagues working in the same field should include scholars writing on chant, the history of the organ, and the pre-history of the carol. Because of John's wide-ranging and long-standing scholarly and musical work, and because of the affection and esteem in which he is held by so many, the potential number of contributors to this book could have created a work of several volumes. The essays included are thus authored by a representative sample of those who wish to honour John, and who share his interest in English music.
The essays are grouped into four sections, reflecting four broad strands of musicology which overlap and interact as theories are developed within the discipline about the history and meaning of musical thought and practice. Primary source material is the fundamental evidence on which we build our understanding. While all of the essays engage with primary materials, close descriptions of the contents of various musical manuscripts, and consideration of their implications, are the focus of the first group of essays (by Sally Harper, Hiley, Hornby and Johnstone). The second strand of this volume concerns musical style. Finding ways to define, describe and see patterns in stylistic features is an integral component of music history and many of the essays touch on aspects of style, while it is the central focus of the contributions of Bent, Maw, Range, Strohm, Williamson and Wright. Music history is not purely an abstract stylistic process, however, and the third strand outlines various performance cultures of English music history, particularly in the chapters by John Harper, McVeigh, Page, Rees and Wollenberg. The final strand is historiographical: Smith and Zon turn to an explicit consideration of the assumptions, prejudices and values that have underlain the writing of particular kinds of English music history, while implicitly reminding us of the contingency of all musicological writing.
- Type
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- Information
- Essays on the History of English Music in Honour of John CaldwellSources, Style, Performance, Historiography, pp. xiii - xviPublisher: Boydell & BrewerPrint publication year: 2010