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Mackey a Phd 2015.Pdf Bangor University DOCTOR OF PHILOSOPHY New Voice : the patterns and provisions for girl choristers in the English cathedral choirs Mackey, Amanda Award date: 2015 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 1 NEW VOICE The Patterns and Provisions for Girl Choristers in the English Cathedral Choirs Amanda Mackey Dissertation submitted in whole fulfilment of the requirement for the degree of Doctor of Philosophy Bangor University 29 May 2015 2 3 Abstract This study identifies and examines the patterns and provisions for girl choristers in eleven English cathedrals. Though some studies exist that discuss the physiological differences between boy and girl choristers and perceptions of their sounds, no study examines the structure of the choirs themselves. Significant changes had to be made to the music departments, personnel, and cultural ideas of cathedral music to make way for a separate line of choristers parallel to the traditional line of boy trebles and lay clerks. Prior to this wave of girl choristers, cathedrals did not typically need to examine or uproot their long-held musical structures. The normal choral routine of rehearsals, evensongs, matins, and Eucharist had been in place for centuries but applied to a single line of boy choristers singing with the men. With two lines of trebles, who will direct each group, and what will they sing, and when? Is this new line a full part of the ‘Cathedral Choir’ or are they ‘other’, something slightly less-than or a fringe voluntary group? Every cathedral had a goal in introducing a line of girl choristers, and this thesis posits that the way in which these questions, and others, were answered in each location speaks to that cathedral’s goal. Furthermore, whilst establishing the secondary line of girl choristers with exact parity to the existing line of boys is admirable, it is not necessarily a misogynistic statement to accept an uneven allocation of singing duties in the cathedral. Constraints such as financial resources and the structure of the choir school play a large role, and must be factored in to the policies set in place for a new line of choristers. 4 5 Contents Abstract ............................................................................................................................... 3 List of Tables ....................................................................................................................... 9 Acknowledgements ............................................................................................................ 11 Declarations ...................................................................................................................... 12 Definitions ........................................................................................................................ 15 Preface .............................................................................................................................. 17 1. Introduction .................................................................................................................. 19 1.1. Church of England Cathedrals in Context ................................................................ 21 1.1.1. Personnel and Personalities ........................................................................................ 23 1.1.2. Foundations and Worshiping Life ............................................................................. 24 1.2. Literature Review ..................................................................................................... 25 1.3. Personal Context ..................................................................................................... 27 1.4. Research Approach .................................................................................................. 30 1.5. Issues of Musical Experience and Rehearsal Method ................................................. 31 1.5.1. Conducting ................................................................................................................. 33 1.5.2. Music Teaching ........................................................................................................... 34 1.5.3. Repertoire and Financial Resources ........................................................................... 36 1.5.4. Age Range and Issues of Recruitment ........................................................................ 37 1.5.5. Chorister Hierarchies .................................................................................................. 39 1.5.6. Dress Codes ................................................................................................................. 40 1.5.7. Remunerations ............................................................................................................ 41 1.5.8. Gender ........................................................................................................................ 42 1.6. Research Process ...................................................................................................... 43 1.6.1. Creating the Interview ................................................................................................ 45 1.6.2. Evolving Interview ....................................................................................................... 47 1.6.3. Observations ................................................................................................................ 48 1.6.4. Analysis ........................................................................................................................ 48 1.6.5. Context of Method ..................................................................................................... 49 2. Data .............................................................................................................................. 51 2.1. Salisbury Cathedral (visited 6-12 April 2009; 7-12 March 2011) ................................. 53 2.1.1. Leadership ................................................................................................................... 54 2.1.2. The Choir .................................................................................................................... 55 2.1.3. Chorister Life .............................................................................................................. 58 2.1.4. The First Girls’ Line .................................................................................................... 59 2.1.5. Hierarchies .................................................................................................................. 60 2.1.6. Ancient Traditions ...................................................................................................... 61 2.1.7. Repertoire .................................................................................................................... 62 2.1.8. Music Teaching and Learning .................................................................................... 63 2.1.9. Differences in Sound .................................................................................................. 64 2.1.10. Social Differences ...................................................................................................... 65 2.1.11. Initial Challenges ...................................................................................................... 65 2.1.12. Aims for the Choir .................................................................................................... 66 2.1.13. Lay Clerks’ Reaction ................................................................................................. 67 2.1.14. Issues of Recruitment ................................................................................................ 67 6 2.1.15. Audition .................................................................................................................... 68 2.1.16. In Rehearsal .............................................................................................................. 69 2.1.17. Conclusion ................................................................................................................ 71 2.2. York Minster (in residence October 2011 to mid-November 2011) ............................ 73 2.2.1. The Choir .................................................................................................................... 74 2.2.2. The Establishment of the Girls’ Line ......................................................................... 76 2.2.3. The Choir Today ........................................................................................................
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