Musical Creativity in Restoration England

Description

Rebecca Herissone's study is the first comprehensive investigation of approaches to creating music in late seventeenth-century England. Her methodology challenges pre-conceptions about what it meant to be a composer in the period and goes on to raise broader questions about the interpretation of early modern notation. Cover Contents Figures Music examples Tables Preface Editorial method Staves and braces Clefs Note values, barring and metre Stave signatures and accidentals Beaming Slurs and ties Figuring Text, spelling and underlay Abbreviations References to pitch and rhythm Manuscript shelfmarks RISM sigla Belgium France Germany Great Britain (‘GB’ is omitted) Ireland Italy Japan United States of America Anonymous copyists Autograph manuscripts Part I Creative contexts and principles 1 Imitation, originality and authorship Principles of invention Imitatio in practice Authorship and originality Conclusions 2 Sources and their functions Practical functions of Restoration music manuscripts Fowle originalls Performance materials Transmission manuscripts File copies Presentation and collectors’ manuscripts Pedagogical materials Conclusions Part II Creative strategies 3 ‘Ye fowle Originall in score’: initial invention and the functions of notation Creative strategies relating to large-scale structure The composition of instrumental and vocal sections in large-scale works The functions of file copies of large-scale music for events Creative strategies within movements Part invention in non-imitative styles Part invention in contrapuntal textures Example of the first Platform of a Fuge Contrasting approaches: Oxford Act songs and odes Conclusions 4 ‘I have here sent ye full Anthems’: transmission and the culture of serial recomposition Manuscript transmission and the concept of serial recomposition Background variation and the creative role of the copyist Conclusions 5 ‘For Seaverall Freinds’: consort music and the study of musical texts Serial recomposition in consort music Serial recomposition in Locke’s consort music Serial recomposition in the consort music of Bowman, Hingeston and Henry Purcell Notational exactitude and the study of musical texts Stylistic change and the decline of notational exactitude Conclusions 6 ‘His mind be filled with the materiall’: arrangement, improvisation and the role of memory The creative role of the arranger Song arrangments Keyboard arrangements The creative implications of memorization Scribal memory stores and the ‘gist’ Aural transcription and the creative role of the performer Conclusions Bibliography Primary sources (including facsimiles) Music Literary texts, including music theory and discourse Secondary sources Modern editions of music Index of manuscripts Index of musical works General index