"Style is national": defining Englishness in the music of the second generation of the English Musical Renaissance

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dc.contributor.author Kempenaar, Christina
dc.date.accessioned 2019-05-25T00:08:01Z
dc.date.available 2019-05-25T00:08:01Z
dc.date.copyright 2019 en_US
dc.date.issued 2019-05-24
dc.identifier.uri http://hdl.handle.net/1828/10903
dc.description.abstract Members of the second generation of the English Musical Renaissance have long been associated with a break from the Teutonic influence of their predecessors to create a musical idiom that is quintessentially English. Scholarship has long looked at these composers, who include those born between Vaughan Williams and Moeran, in isolation from the artistic movements and political and social issues of Europe, when in fact they were part of them. This thesis places these composers within these currents by discussing them as part of England’s Lost Generation and within the historical contexts of Europe in the early twentieth century. Though the Lost Generation is often associated with the post-war period, I propose that the phenomenon existed prior to World War I by focussing on England’s aesthetic lostness in the late Victorian and Edwardian eras. The Lost Generation of composers inherited a musical culture that had been aesthetically lost for two hundred years and rebelled against it to define a musical idiom that was quintessentially English. After placing the second generation of the English Musical Renaissance within its historical contexts, I call into question previous discussions on English music that define it according to single definitions largely associated with the Pastoral School or the Folk School. Instead, I propose that the music of this generation was stylistically diverse while simultaneously a manifestation of common cultural influences, ultimately rooted in the goal of creating a sense of community. To support this claim, I discuss the various stylistic techniques of individual composers within their collective cultural influences, including the music of England’s past, the landscape, and English literature. Furthermore, I explore the role of musical community, both as a central goal in the creation of a national idiom and as a source of compositional inspiration. By examining the influences and compositional styles of these composers, I conclude that the music of this generation broke from Continental influences by developing a national idiom that was both stylistically unique to the individual composer and tied to common cultural influences that were rooted in the goal of creating a musical community within England. . en_US
dc.language English eng
dc.language.iso en en_US
dc.rights Available to the World Wide Web en_US
dc.subject English Musical Renaissance en_US
dc.subject Music en_US
dc.subject Gustav Holst en_US
dc.subject Ralph Vaughan Williams en_US
dc.subject Arnold Bax en_US
dc.subject Herbert Howells en_US
dc.subject John Ireland en_US
dc.subject Rutland Boughton en_US
dc.subject E.J. Moeran en_US
dc.subject Philip Heseltine en_US
dc.subject Peter Warlock en_US
dc.subject Arthur Bliss en_US
dc.subject England en_US
dc.subject Twentieth Century en_US
dc.title "Style is national": defining Englishness in the music of the second generation of the English Musical Renaissance en_US
dc.type Thesis en_US
dc.contributor.supervisor Salem, Joseph
dc.degree.department School of Music en_US
dc.degree.level Master of Arts M.A. en_US
dc.description.scholarlevel Graduate en_US

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