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"Saylor, Eric"
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English Pastoral Music
Covering works by popular figures like Ralph Vaughan Williams and Gustav Holst as well as less familiar English composers, Eric Saylor's pioneering book examines pastoral music's critical, theoretical, and stylistic foundations alongside its creative manifestations in the contexts of Arcadia, war, landscape, and the Utopian imagination. As Saylor shows, pastoral music adapted and transformed established musical and aesthetic conventions that reflected the experiences of British composers and audiences during the early twentieth century. By approaching pastoral music as a cultural phenomenon dependent on time and place, Saylor forcefully challenges the body of critical opinion that has long dismissed it as antiquated, insular, and reactionary.
eBook
Blackness in Opera
Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley._x000B__x000B_Contributors are Naomi Andre, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.
eBook
Arcadia
Gertrude Jekyll (1843–1932), whose contributions to landscape design made her one of the most important figures associated with the Arts and Crafts movement, spent her career promoting a creative vision closely aligned with the values of soft pastoralism. She stressed the importance of planting native flora in gardens, building with local stone and wood, and decorating with artisan crafts—in part because she found inexpensive, mass-produced goods shoddy and ugly, but mostly because she felt that using local resources strengthened individuals’ ties with their communities and could actually make people happier as a result. In her book Old West
Book Chapter
What Is Pastoralism?
As even casual surveys quickly reveal, “pastoral” sports almost as many definitions as it does people who wish to describe it. Among literary specialists, the term traditionally denotes a type of poetry focusing on the lives of shepherds or herdsmen, often (though not exclusively) set against the backdrop of classical antiquity or an idyllic Golden Age.¹ However, a tension exists between describing pastoral this way, as a genre (i.e., defined in part by the presence of certain formal characteristics) versus the equally common method of framing it as a mode (i.e., “the place in which our notion of the world
Book Chapter
Landscape
On 27 July 2012 the opening ceremonies for the XXXth Olympiad took place in Stratford, East London, commencing with a pageant (Isles of Wonder) directed by Danny Boyle. It opened on a scene of nineteenth-century rurality that perfectly embodied a Platonic ideal of English pastoralism. As a boy soprano sang the opening lines of Hubert Parry’s “Jerusalem,” men in cloth caps played cricket, women tossed apples, and children danced around Maypoles.¹ Beekeepers tended their hives as waterwheels slowly revolved near thatched-roof cottages; horse-drawn drays passed wooden fences and hedgerows; sheep safely grazed in wildflower-dotted pastures. The entire “village” rested snugly
Book Chapter
“It's Not Lambkins Frisking At All”: English Pastoral Music and the Great War
Those who write about English pastoral music often engage in impressionistic generalities about what it allegedly represents or make vague allusions to the English folksong school or national styles as though doing so tacitly explains the nature of pastoralism. Yet a strain of thought has arisen over the last decade recognizing that twentieth-century English pastoralism is a much more complex and progressive musical category than the way its past treatment might suggest.
Journal Article
Dramatic Applications of Folksong in Vaughan Williams's Operas Hugh the Drover and Sir John in Love
Although Ralph Vaughan Williams's operas Hugh the Drover (1924) and Sir John in Love (1929) both prominently feature English folk and traditional tunes, the dramatic ends such music serves differ significantly between the two works. This article compares the ways in which Vaughan Williams uses folk music in both operas, with the larger aim of providing a more nuanced perspective on the changing musical and dramatic potential the composer saw for indigenous English music within the context of opera.
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Examples 1-4 are from Hugh the Drover Music by Ralph Vaughan Williams Libretto by Harold Child Music © Copyright 1920 by Joan Ursula Penton Vaughan Williams. All rights for the United Kingdom, Republic of Ireland, Canada, Australia, New Zealand, Israel, Jamaica and South Africa exclusively licensed to Faber Music Limited. All rights for the World (Ex United Kingdom, Republic of Ireland, Canada, Australia, New Zealand, Israel, Jamaica and South Africa) exclusively licensed to J. Curwen & Sons Limited and then transferred to G. Schirmer Limited. Libretto © Copyright 1920 by Harold Child. All rights for the World exclusively licensed to J. Curwen & Sons Limited and then transferred to G. Schirmer Limited. All Rights Reserved. International Copyright Secured. Reprinted by Permission. Examples 5-16 are from Sir John in Love An Opera in Four Acts R. Vaughan Williams © Oxford University Press 1930. Corrected edition published 1971. Used by permission. All rights reserved.
Journal Article