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Mátyás Seiber - traveller between worlds
No full textIt is difficult to imagine a 20th-century composer more shaped by travel and movement than Mátyás Seiber (1905-1960). As a result, Seiber’s is a musical creativity that resists explanation according to national categories and narratives of rootedness. He was a polyglot, both musically and linguistically, who demonstrated mastery of a variety of musical styles. And it is largely due to his musical multi-lingualism and mobility that his work has been unjustly neglected. **** This article is available as part of the Music, Migration and Mobility online resource at the Official URL given below. ***
An inconvenient Black history of British musical theatre 1900-1950
No full textA radically urgent intervention, An Inconvenient Black History of British Musical Theatre: 1900 - 1950 uncovers the hidden Black history of this most influential of artforms. Drawing on lost archive material and digitised newspapers from the turn of the century onwards, this exciting story has been re-traced and restored to its rightful place. A vital and significant part of British cultural history between 1900 and 1950, Black performance practice was fundamental to resisting and challenging racism in the UK.
Join Mayes (a Broadway- and Toronto-based Music Director) and Whitfield (a musical theatre historian and researcher) as they take readers on a journey through a historically-inconvenient and brilliant reality that has long been overlooked. Get to know the Black theatre community in London's Roaring 20s, and hear about the secret Florence Mills memorial concert they held in 1928. Acquaint yourself with Buddy Bradley, Black tap and ballet choreographer, who reshaped dance in British musicals - often to be found at Noël Coward's apartment for late-night rehearsals, such was Bradley's importance. Meet Jack Johnson, the first African American Heavyweight Boxing Champion, who toured Britain's theatres during World War 1 and brought the sounds of Chicago to places like war-weary Dundee. Discover the most prolific Black theatre practitioner you've never heard of, William Garland, who worked for 40 years across multiple continents and championed Black British performers. Marvel at performers like cabaret star Mabel Mercer, born in Stafford in 1900, who sang and conducted theatre orchestras across the UK, as well as Black Birmingham comedian Eddie Emerson, who was Garland's partner for decades.
Many of their names and works have never been included in histories of the British musical - until now
The original staging of Carmen: the 1875 mise-en-scène with English translation
Get PDFDual-language presentation of the 1875 mise-en-scène (staging manual) by Richard Langham Smith. This document (with facsimiles) presents the French text along with a full English translation and commentary. The document detailing the staging was exported along with the musical material by the publishers Choudens & Cie. This process of sending ‘Carmen Abroad’ is discussed in detail in the commentary
Carmina tempore viri (songs in time of virus)
No full textFor upper voices, harp, organ and desk bells, duration 21 minutes.
This work was commissioned by Temple Church, with text by Thomas Guthrie, devised with the help of the boys and their parents, for Roger Sayer and the Boy Choristers of the Temple Church Choir.
It was premiered on 11 June 2021 at Temple Church, London for broadcast on BBC Radio 3 (see https://www.bbc.co.uk/sounds/play/m000wtqq) with Charles Andrews (organ) and Anne Denholm (harp)
The vanishing discipline: the threat to musicology
Get PDFIn recent decades the familiar discourse of musicology has been subject to profound upheaval, as the discipline has welcomed influences from literary studies, feminism, sociology, and a
variety of hard sciences, to name just a few. A key moment in this process was the publication in 1985 of Joseph Kerman’s Contemplating Music, which launched the movement known as
New Musicology, among whose leading lights were Ruth Solie, Susan McClary and Philip Brett, among others. Each of these has imported into musicology its own discourse, its own norms of argumentation, its own conception of what counts as evidence, its own set of values – though given that these were themselves contested within each discipline, this process was bound to be uncertain and partial. These different discourses do not always live in amity under the sheltering umbrella of musicology. On the contrary, one can perceive a tendency among some of them to reconfigure and redefine the subject matter of musicology in their own terms, a tendency which, if allowed to proceed unchallenged, risks robbing the traditional discipline of musicology of its intellectual autonomy.
This paper uncovers this tendency in two influential texts, which arise out of two different sorts of discourse. One of them (Cook & Clarke, 2004), asserts the desirability of a hard science discourse, the other (Born, 2010) calls for a realignment of musicology along sociological and anthropological lines. I argue that both forms of discourse essentially reduce musicology to a secondary discipline, granted value only to the extent that it is willing to ape the discourse of others, and that the old form of musicology embodied a particular musical form of knowledge of its subject matter for which the new discourses can never be an adequate substitute
Musicians from birth: early years
No full textIn the first in a series of Early Years updates, Jessica Pitt considers how qualified practitioners are a crucial part of the necessary reframing of early childhood music. The full text of this article is available at the link below
The clarinet in opera before 1830: instrument and genre come of age
No full textDescription of 'The Clarinet' (ed. Jane Ellsworth): With essays written by leading performer-scholars, The Clarinet offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles. Beginning with a chapter on clarinet iconography, the book continues with an overview of the instrument's early history, chapters on the clarinet in the opera orchestra and the traditional symphony orchestra, and examinations of important genres involving the clarinet (the concerto and the clarinet quintet). Also included are chapters on leading twentieth-century clarinetists, the instrument's use in the historically informed performance (HIP) movement, and an expansive look at the clarinet's use in ethnic traditions and early jazz. The emphasis on topics not covered elsewhere makes this book an important contribution to the clarinet literature. Written in an accessible style, this volume engages a wide range of readers, from professional musicians to clarinet aficionados and music lovers with less specialized knowledge
Health education for musicians
No full textRead the full report:
Matei R, Broad S, Goldbart J, & Ginsborg J (2018), Health education for musicians, Frontiers in Psychology, 9 (1137), 1-17, https://doi.org/10.3389/fpsyg.2018.01137
Telling stories, sounding faith: exhibiting religion in historic house museums
No full textThis chapter contemplates the tales that these particular remnants of former musical practices tell. It considers how they bring narratives into focus that are often neglected in house museums. The chapter focuses on the once pervasive presence of spiritual practices in houses and homes, and on the curious absence of such practices in house-museum narratives today. Linda Young's taxonomy of the house museum suggests that whether a house museum celebrates a hero, its architecture, a collection and its collector, the presence of an aristocratic sub-strata of society, or the social history of the domestic, it always celebrates the notion of a dwelling as a site of idealised privacy and individuality. Racial marginalisation as an active concern has only recently spilled from ethnographic and historical museums to the house museum; within educational institutions at large, it has come under severe scrutiny only during the last five years
Edmund Hooper (c. 1553–1621): 5 Keyboard Pieces performed on clavichord, Flemish harpsichord and chamber organ by Terence Charlston with ‘Some notes on the clavichord and the virginalists’
No full textThis webpage resource is available open access at the 'Official URL' given below