Art reflects the age in which it is produced, and any facet of Art, such as music or poetry, by virtue of this fact, is intrinsically related to other facets. Such an examination as is suggested in the title of this thesis is deemed to be of use to students of English on the ground, then, that literature, or more specifically, poetry, is not an isolated cultural phenomenon which has no relationship to other arts within a given age. In some eras, many similarities exist in the arts; in other ages, fewer. It is my contention that between 1660 and 1760 in England, there were many points of resemblance in poetry and music. The first chapter discusses the approach to be taken in dealing with, similarities in the two mediums noted above, and indicates the limitations of the thesis. Because of the great amount of both primary and secondary source material relevant to the period between 1660 and 1760, the examination is confined to a comparison of certain representative works of Dryden, Purcell, Pope, and Handel. Some secondary source material is also brought into the discussion; as there has been much excellent critical work done both in regard to music and poetry, it is logical to try to bring together in this thesis comments of writers on both arts. Since this dissertation is intended primarily for literary scholars, the first chapter also includes a brief outline of developments in music in England in the post-Elizabethan and Commonwealth years; this inclusion is judged to be necessary in view of the fact that some of the facets of Restoration music relate to works produced in earlier years. The second and third chapters constitute the major part of the examination. The former deals with Dryden and Purcell, and involves (respectively) a consideration of the poetic and musical influences working upon them, the courtly, secular, and occasional nature of their productions, and the presence, in the latter, of the "spectacular," the "magnificent." This portion of the chapter considers ornamentation, such aspects of the arts as theatrical elements, innovation and improvement, form, and manner. Specific works are then discussed; these include Dryden's A Song for Saint Cecilia's Day and Alexander's Feast, and Purcell's setting of Nicholas Brady's ode for St. Cecilia's day, Hail! Bright Cecilia, and King Arthur. The third chapter is like the second in many respects, but deals with Pope and Handel. The influences on these two men are discussed, and an illustration is included to show that such influences bear a remarkable similarity to those which, in many ways, determined the nature of the works of Dryden and Purcell. The discussion dealing first with Pope and then with Handel, moves to such topics as precision and craftsmanship, representation of thought in sound, choice of words (Pope), rhythm, and selection of range and nature of music in the setting of poetry (Handel), principle of contrast, pastoral aspects, satire, influence of the belief in an ordered universe, regard for Nature, and general classification of both arts. The works of Pope dealt with in these pages include The Rape of the Lock, An Essay on Criticism. Moral Essays. Epistle to Dr. Arbuthnot, The Dunciad, and Windsor Forest: of Handel, Messiah, Kompositionen für Klavier, and Music for the Royal Fireworks. The chapter concludes with a short analysis of Handel's setting of Pope's words in the aria, "Where'er you walk" from Semele. In the case of the music of both Purcell and Handel, illustrations are provided to assist the reader. Extensive documentation also ensures the maximum utility of the dissertation. The fourth chapter draws together the lines of the discussion. That there are definite parallels between the two arts, in the light of the evidence presented, is undeniable. As the final pages state, there is still a great deal to be done in the field in terms of further research and examination of both primary and secondary sources. However, this thesis shows conclusively that the same currents which were present in the poetry between 1660 and 176O were very often present in some form in the music, and there is every reason for considering the two arts "acknowledg'd sisters." / Arts, Faculty of / English, Department of / Graduate

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007. / "A dissertation in performance." Typescript. Advisor: William A. Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 08, 2008 Includes bibliographical references (leaves 123-136). Online version of the print edition.

Bibliography: leaves 560-582 / ixx [i.e. xix] 582 leaves : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Dept. of Music, University of Adelaide, 1987

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The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his position in London's concert life. Equally impressive was Puzzi's sustained prosperity in a notoriously difficult business. Key to this triumph was his multifaceted exploitation of the Italian opera. Through his activities as an agent, impresario and arranger he allied himself as a fixer and performer with his era's most lucrative musical commodity: the singers of the Italian opera. In the large body of music that he arranged and composed to capitalise on audience fascination with virtuosity and opera, Puzzi has provided the only substantial record of horn playing in Britain during the nineteenth century. The majority of fhe manuscripts considered in this dissertation are drawn from a private collection and have not been previously studied or published. This material, in conjunction with Puzzi's surviving instruments and critical accounts of his playing, has been utilised to reconstruct and assess the main attributes of his virtuosity. This dissertation shows that Puzzi was responsible for establishing the preference for French style instruments and performance technique in England and that he was the first exponent of the British school of horn playing that reached its culmination in Dennis Brain. While virtuoso string players, pianists and singers have attracted much attention from scholars and biographers, this dissertation is the first full length historical study of a nineteenth-century horn virtuoso to be written.

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Call number: LD2668 .T4 1984 S335 / Master of Music / Music, Theatre, and Dance