The rise of musical classics in eighteenth-century England a study in canon, ritual, and ideology
The repertoire performed in England during the 18th c. suggests that by the 1780s works had acquired a canonic status. Toward the end of the century the expression 'ancient music' was already used to designate works composed before 1620, while by 1776, with the repertoire of the Concert of...
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| Format: | UnknownFormat |
| Sprache: | eng |
| Veröffentlicht: |
Oxford
Clarendon Press u.a.
1996
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| Ausgabe: | Paperback edition |
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| Online Zugang: | Publisher description |
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Tag hinzufügen | Zusammenfassung: | The repertoire performed in England during the 18th c. suggests that by the 1780s works had acquired a canonic status. Toward the end of the century the expression 'ancient music' was already used to designate works composed before 1620, while by 1776, with the repertoire of the Concert of Antient Music, it began to encompass the works of Corelli, Purcell and, eventually, Händel. This led to the establishment of the first canonic repertoire in England, parallel to the continuing performances of Lully's operas in France. In England, this development was linked to political concerns motivated by the need to rethink issues of authority in many social and cultural areas. The establishment of a musical canon was part of the same process, and represented an attempt to elevate England's musical life to a higher standard of excellence. By the 1780s these notions had consolidated into a set of principles that focused on the repertoire of ancient music as performed in a wide variety of concerts. John Hawkins and Charles Burney were instrumental in defining the historical dimensions of this new musical culture. (RILM) |
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| Beschreibung: | Includes bibliographical references (p. 258 -260) and index |
| Beschreibung: | xiii, 274 Seiten Diagramme |
| ISBN: | 0198166079 0-19-816607-9 |