The years between 1660 and 1697 were possibly the most decisive in the history of St Paul's Cathedral. Even the dates themselves are significant - markers for what had been and what would follow. For it was during this time that St Paul's was transformed, outwardly and inwardly -a process that pulled in its wake the music and musicians whilst many of the changes can be understood without reference to the music and musicians, they themselves cannot be understood in isolation. In 1660 the Cathedral stood alone. Its singers and much of its music were heard only there, and it had little contact with the other main choirs in London - of Westminster Abbey and the Chapel Royal. But the destruction of the building, and its replacement by a new, specifically Anglican cathedral brought about a change in its position. This is reflected in its music and musicians, which gradually lose their Cathedral flavour, and, by 1697, have begun to acquire a London, and indeed a national identity. This thesis offers an investigation in to the process of change, as seen through contemporary writings, records and music sources. Such documents are examined and compared with their counterparts from other establishments, in order to define the relationships and assess the process of change. Study of the music sources includes an extensive examination of the two most important from this period, that is the first edition of James Clifford's Divine Services and Anthems (1663), and the seventeenth-century artbooks in the Cathedral (MSS 259-60 and 261 a-263). Their significance as Cathedral sources is examined; and the dating of the partbooks - with its implications for choral services - is evaluated, and current thinking ultimately challenged. It is also suggested that LbI Add. MS 29289 was in use at the Cathedral during the early Restoration and that it provided a model for John Barnard's The First Book of Selected Church Musick (1641). Two other related manuscripts, Mp MS 340 Cr 71 and Lbl Add. MS 29430 are examined and considered as possible Cathedral sources.

This thesis is a cross-cultural examination of the relationship between the trained physiology of the voice and culture. Building on Barthes's notion of the grain of the voice,' I argue that each training system moulds the body in a way that decisively affects aesthetic phonation. Therefore I analyse voice training as a bodily inscription, in its Foucauldian sense, and I focus on the pedagogical ethics crystallised in the 'grain of the genre.' This I define as the collective 'grain' to which pedagogies of codified genres aspire, beyond and apart from the individual singing performer's 'grain' ; in other words, the 'grain of the genre' is the means by which culture is reaffirmed in/through the trainee's voice. The introductory chapter looks at the anatomical and physiological properties of the voice, traces the history of theorisations of the voice in order to situate my project, and explains my methodologies as a practitioner/researcher. Drawing on extended practical fieldwork, each of the subsequent three chapters explores the ' grain' of three pedagogies in the light of my personal training and the historical, musicological and broader cultural research I conducted in relation to each method. The three training approaches are a recent development in the area of bel canto (Integrative Performance Practice by 'Experience Vocal Dance Company,' USA and UK), an Asian traditional genre (Korean pansori), and a training pertaining to the Western avant-garde tradition (Centre for Theatre Practices 'Gardzienice,' Poland). Chapter 2 argues that the transdisciplinary grain of IPP on one hand adheres to a scientific approach to voicing, while attempting to bypass the deadends of the predominant training of the 'natural' voice. Chapter 3 acknowledges the grain of pansori as developed and promoted through the explicit aesthetic agenda of Korean han. Chapter 4 studies the grain of Gardzienice as one of 'laughing openness,' a grain mainly preoccupied with the inter-corporeal and the relational. The final chapter revisits the category of the 'grain of the genre' through my embodied perspective as a cross-cultural researcher. I reexamine the Foucauldian aspects of the 'grain' and its disciplinary character through the lens of the axis docility-resistance. I conclude the thesis with the suggestion of a dynamic relation between culture and vocal practice, the resistant aspects of which are, I argue, foregrounded when voice is addressed and taught as phonic and foreign.

This submission is comprised of a variety of compositions for young choirs. Composing for such groups is distinct from composing for other ensembles.because the nature of the voice.is not static: it changes markedly during childhood and adolescence. General patterns of vocal development in childhood and adolescence are reflected in these compositions, with the aim of utilising young voices fully but avoiding making potentially damaging demands on them. The range of styles and some significant characteristics of the compositions are informed by other developmental factors: changes in listening preferences and the evidence of developing musical understanding demonstrated in young people's compositions. When young people listen to music, their openness to style first narrows and later broadens; when they compose music, different musical characteristics appear to be primary focal points of different stages in learning. These psychological factors can be compared with (variable) formants - the composer's task is to create music that can "resonate" with groups of young singers.

Written to condemn racism and promote a socialist society, Finian’s Rainbow is a thought-provoking presentation of lyricist E.Y. (Yip) Harburg’s worldview. First appearing in 1947 during the Golden Age of Broadway, the piece was warmly received by audiences and ultimately ran for 725 performances. Following this successful opening the hit musical transferred to the West End, but its reception was apathetic. Nevertheless, over the next few years revivals were frequently staged across America and Europe and in 1968 the musical was released as a motion picture starring Fred Astaire and Petula Clark. More recently, however, interest in the show has faded: the unusual narrative, which juxtaposes Irish whimsy with socialism and anti-racism propaganda, has been deemed old-fashioned, and fears of commercial failure have hindered performances of the work. The writers’ contradictory intention to attack racism and capitalism within a commercial vehicle is the fundamental concern of this thesis. Across the study, primary sources (in particular working scripts, musical and lyrical sketches, scores, cut songs, unreleased recordings, productions files, newspaper clippings, lectures and correspondence) are employed to illuminate the creators’ priorities and concerns during the development of the show. As the tension between the subject matter and the requirements of the genre became increasingly apparent, these documents reveal that the team exploited five aesthetic and thematic devices: fantasy, satire, folklore, Stage Irishness and melodrama. By using secondary sources to provide a critical framework for assessing these five themes, this study reveals their importance in overcoming the musical’s foregrounding of what could be at the time considered anti-hegemonic values of anti-capitalism and anti-racism within a commercial musical entity.

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One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge in a small way, through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. Analysis of the corpus reveals a heterogeneous collection of songs on a wide range of themes, but with certain genres predominating, notably hunting songs and songs in dialect - songs which, like ‘D’Ye Ken John Peel’, have been mobilised to reinforce ideas of regional identity and pride over many years.

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