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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing firom left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313,'761-4700 600/521-0600 Order Number 9401210 Reclaiming a music for England: Nationalist concept and controversy in English musical thought and criticism, 1880-1920. (Volumes I and II) Ball, William Scott, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Ball, William Scott. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 RECLAIMING A MUSIC FOR ENGLAND: NATIONALIST CONCEPT AND CONTROVERSY IN ENGLISH MUSICAL THOUGHT AND CRITICISM, 1880-1920 VOLUME I DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By William Scott Ball, B.Mus., M.A., M.Div. ***** The Ohio State University 1993 Dissertation Committee: ^ Approved b C. Atkinson M. Mazo L. Rosow Adviser School of Music Copyright by William Scott Ball 1993 ACKNOWLEDGMENTS I wish to express my sincere appreciation to those individuals and institutions who have assisted in the preparation of this dissertation. I am grateful to Professor Elliott Schwartz, who suggested to me that the intellectual background of the period of Vaughan Williams and Holst might be a promising study. The financial assistance provided by The Ohio State University toward the acquisition of microform and photocopied materials is greatly appreciated. I would also like to acknowledge the kind assistance of the staff of the Music Division of the Library of Congress. For their help in securing materials important to this study, I express thanks to Thomas Heck, head librarian of the OSU Music Library and Peter Horton, research librarian at the Royal College of Music. I am especially happy to acknowledge the contributions made by the members of my committee: Charles Atkinson, Margarita Mazo, and Lois Rosow, each of whom have been generous with their time and helpful suggestions. Professor Atkinson, my adviser, has provided valuable insights and recommendations throughout the evolution of this study. 1 am also grateful to Professor Mazo, whose Seminar in Russian Music stimulated my interest in musical nationalism, and to Professor Rosow, who has been a constant source of encouragement to me throughout the years of my doctoral program. Finally, I would like to thank those who have lived closest to this dissertation. To my wife Lorraine, and my children Jonathan and Jessica, 1 owe a debt of gratitude that is above my ability to pay, or even express. Without their love, encouragement, and many sacrifices the completion of this project would not have been possible. VTTA July 10, 1950 Bom - Washington, D C. 1974 B.Mus., Arizona State University, Tempe, Arizona 1980 M.A., Andrews University, Berrien Springs, Michigan 1983 ........................................................................... M.Div., Andrews University, Berrien Springs, Michigan 1988-1989 Lecturer, School of Music, The Ohio State University, Columbus, Ohio 1990-Present .......................................................... Assistant Professor of Music, Atlantic Union College, South Lancaster, Massachusetts FIELDS OF STUDY Major Field: Music Studies in Music History and Literature, History of Theory, Analysis m TABLE OF CONTENTS VOLUME I ACKNOW LEDGM ENTS...........................................................................................................ü VTTA...................................................................................................................................................iü ABBREVIATIONS..........................................................................................................................vi INTRODUCTION.............................................................................................................................1 Part One PRELIMINARY QUESTIONS AND ISSUES Chapter I . THE QUESTION OF NATIONALITY IN MUSIC...................................................7 Introduction ..............................................................................................................7 Can Music be National?................................................................................................8 Factors Affecting Nationality .................................................................................... 20 Specific National Identities ....................................................................................... 40 The Benefits vs. Liabilities of Nationality in Music ..............................................55 II. THE QUESTION OF ENGLISH MUSICALITY....................................................68 Tne Problem with English M usic ............................................................................. 69 Wimesses to English Musicality: Sources and Characteristics............................82 Folk Song as Wimess............................................................................................ 82 England's Musical Past as Witness............................................................87 Temperament as Wimess ......................................................................................99 Characteristics of English Music as Wimess................................................... 105 Conclusion ............................................................................................................ 112 Part Two TOWARD A NATIONAL MUSIC Chapter III. THE CALL FOR A NATIONAL STYLE..................................................... 115 Recognizing the Renaissance...................................................................................115 IV The Call for English M usic..................................................................................... 130 The War and The Call..............................................................................................140 IV. ENGLAND AND OTHER NATIONS.....................................................................148 V. FOLK SONG AS A BASIS FOR A NATIONAL STYLE...................................167 Introduction......................................................................................................... 167 Genuineness.............................................................................................................. 173 Integrity......................................................................................................................177 Amalgamation........................................................................................................... 182 Relevance...................................................................................................................187 Value.......................................................................................................................... 191 Definition...................................................................................................................195 Authenticity............................................................................................................... 206 Conclusion ...........................................................................................................209 VI. ENGLAND'S MUSICAL PAST AS A PRECEDENT FOR A NATIONAL STYLE.....................................................................................212 Introduction.........................................................................................................212 Early Music............................................................................................................... 217 John Dunstable ......................................................................................................... 219 The Tudor Period............................................................. 225 Henry Purcell..................................................................................................... 239 After Purcell..............................................................................................................251 Conclusion ...........................................................................................................257
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