Charles Edward McGuire - Historical Dictionary of English Music, Ca. 1400-1958
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Historical Dictionary
of English Music:
ca. 14001958
Charles Edward McGuire
Steven E. Plank
The Scarecrow Press, Inc.
Lanham Toronto Plymouth, UK
2011
Published by Scarecrow Press, Inc.
A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706
http://www.scarecrowpress.com
Estover Road, Plymouth PL6 7PY, United Kingdom
Copyright 2011 by Charles Edward McGuire and Steven E. Plank
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.
British Library Cataloguing in Publication Information Available
Library of Congress Cataloging-in-Publication Data
McGuire, Charles Edward.
Historical dictionary of English music: ca. 14001958 / Charles Edward McGuire, Steven E. Plank.
p. cm. (Historical dictionaries of literature and the arts)
Includes bibliographical references.
ISBN 978-0-8108-5750-6 (cloth : alk. paper) ISBN 978-0-8108-7951-5 (ebook)
1. MusicEnglandDictionaries. I. Plank, Steven Eric. II. Title.
ML101.E5M34 2011
780.942'03dc22 2010049351
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
Printed in the United States of America
A man will turn over half a library to make one book.
Samuel Johnson, 6 April 1775, recorded in
James Boswell, Life of Johnson
The Historical Dictionary of English Music: ca. 14001958 deals with just thatEnglish music over the ages, here focused on music from the early Renaissance to the mid-20th century, ending with the death of Ralph Vaughan Williams. Moreover, this is indeed English music and does not include Irish, Scottish, or Welsh derivations. It may seem a bit nationalistic to focus on English music, but today the primary concern is what England has contributed to the world of music, which it turns out is quite a bit. Some of the truly great composers of English music figuring in this volume include Johann Christian Bach, Felix Mendelssohn, and George Frideric Handel, along with singers like Jenny Lind and Farinelli. Yet they do not overshadow the remarkable role of locals Thomas Tallis, Henry Purcell, and Sir Edward Elgar among the composers, Sir Adrian Boult and Sir John Barbirolli among the conductors, and John Dowland and Robert Lindley among the instrumentalists.
This historical dictionary begins with a list of acronyms, an ample chronology that covers high points of approximately six centuries, and an introduction that provides a broader view of English music. The dictionary section fills in many of the details in some 600 entries, which not only provide considerable information but, in many cases, provide a point of view by contemporaries or later observers. It covers the most significant and many of the lesser but still remarkable composers, conductors, instrumentalists, and singers as well as some of the impresarios and critics who made the music scene vibrant for so long. Other entries are on the most popular theaters and concert halls, numerous musical instruments, genres, particularly notable musical works, professional and other societies, and crucial technical terms. The bibliography is last but hardly least, since it is the first step toward a much broader literature.
This volume was written by two authors with a long and abiding interest in English music. Both are American, not British, which gives them some physical and intellectual distance and perhaps a clearer perspective. Both have been struck by the richness and beauty of English music, strongly enough indeed for them to study it intensively and teach it at Oberlin College in Ohio, which is known for its Conservatory of Music. The main interest of Charles Edward McGuire is British music of the 19th and 20th centuries, particularly that of Edward Elgar and Ralph Vaughan Williams. He has written extensively on both of these composers and other topics in leading journals and has published two books. After teaching at various other universities, he is now an associate professor of musicology at the Oberlin Conservatory of Music. Steven E. Plank is professor and chair of the Department of Musicology at Oberlin, where he has been teaching since 1980. His main historical interest is earlier, namely Restoration England, and also the role of liturgy in music and the oratorio. He, too, has written numerous articles and two books. Between them, they have produced a reference work that is not only informative but helps us understand just why English music is so special and delightful.
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