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A Shropshire Lad in British music since 1940: decline and renewalWhittingham, Kevin Robert 31 January 2008 (has links)
This thesis surveys all the found British settings of A. E. Housman's A
Shropshire Lad (1896) but concentrates on the period after 1940, which, the author
believes, has not previously received critical attention. A new study is timely
especially because of a renewed interest among composers in the poet's highly
influential lyric collection. The author found about 110 British composers with about
340 settings of individual poems not listed in previous Shropshire Lad catalogues.
This number adds more than fifty per cent to the known repertoire.
The search was not restricted to art song; it found, in addition, multi-voice
settings, settings in popular styles and non-vocal music. Largely because of the work
of broadly trained musicians, there is now a much wider range of medium, style and
compositional technique applied to A Shropshire Lad. There are also new ways in
which words and music relate. Different catalogues in the thesis list settings according
to period, genre, poem and composer.
The author hopes to broaden the British canon of Shropshire Lad music,
which, despite recent commissions and competitions, is still mostly limited to the
major composers of the English musical renaissance (the early decades of the
twentieth century). Accordingly, the catalogues let performers know how to obtain the
settings.
In preliminary chapters, the thesis attempts a literary examination of A
Shropshire Lad and reviews the already-researched pre-Second World War settings. It
then divides the post-1940 period into two parts–a Decline (to c.1980) and a
Renewal (since c.1980)–and surveys them. The compositions of this period are
placed in three tonal-stylistic streams of development: a mainstream tonal with ultraconservative
and atonal tributaries. Then follow detailed literary-musical analyses of post-1940 songs, song cycles, collaborative sets, and multi-voice settings. A final
summary draws together the conclusions of the individual chapters, summarizes and
evaluates the achievement of the post-1940 composers, and suggests how further
research might be carried out. / Art History, Visucal Arts & Music / D. Litt. et Phil. (Musicology)
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A Shropshire Lad in British music since 1940: decline and renewalWhittingham, Kevin Robert 31 January 2008 (has links)
This thesis surveys all the found British settings of A. E. Housman's A
Shropshire Lad (1896) but concentrates on the period after 1940, which, the author
believes, has not previously received critical attention. A new study is timely
especially because of a renewed interest among composers in the poet's highly
influential lyric collection. The author found about 110 British composers with about
340 settings of individual poems not listed in previous Shropshire Lad catalogues.
This number adds more than fifty per cent to the known repertoire.
The search was not restricted to art song; it found, in addition, multi-voice
settings, settings in popular styles and non-vocal music. Largely because of the work
of broadly trained musicians, there is now a much wider range of medium, style and
compositional technique applied to A Shropshire Lad. There are also new ways in
which words and music relate. Different catalogues in the thesis list settings according
to period, genre, poem and composer.
The author hopes to broaden the British canon of Shropshire Lad music,
which, despite recent commissions and competitions, is still mostly limited to the
major composers of the English musical renaissance (the early decades of the
twentieth century). Accordingly, the catalogues let performers know how to obtain the
settings.
In preliminary chapters, the thesis attempts a literary examination of A
Shropshire Lad and reviews the already-researched pre-Second World War settings. It
then divides the post-1940 period into two parts–a Decline (to c.1980) and a
Renewal (since c.1980)–and surveys them. The compositions of this period are
placed in three tonal-stylistic streams of development: a mainstream tonal with ultraconservative
and atonal tributaries. Then follow detailed literary-musical analyses of post-1940 songs, song cycles, collaborative sets, and multi-voice settings. A final
summary draws together the conclusions of the individual chapters, summarizes and
evaluates the achievement of the post-1940 composers, and suggests how further
research might be carried out. / Art History, Visucal Arts and Music / D. Litt. et Phil. (Musicology)
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The Study of George Butterworth¡¦s ¡§A Shropshire Lad¡¨Yang, Shu-fan 03 February 2012 (has links)
A Shropshire Lad by English composer George Butterworth (1885-1916) is a song cycle composed by adopting six poems of the same title ¡§A Shropshire Lad¡¨ by Alfred Edward Housman (1859-1936). These poems depict the life of a pure young man, which passes through love, separation, and death by symbolical and sarcastic writing skill, and the composer composed the songs exquisitely, creating these six songs with different styles, and presenting his ingenious conception within the music and lyrics.
The study has five major components: an introduction to the composer, George Butterworth; the art songs of George Butterworth; an introduction to the poet Alfred Edward Housman; the composing background of A Shropshire Lad, and the analysis as well as interpretation of six-songs of A Shropshire Lad. It is hoped that through this study, singers can have a better understanding of the hidden meaning of the poems and of how composers use music to express the wonders of poetry. They can then in turn interpret this song cycle in the most apposite mood and with the most appropriate way of singing.
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