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Constructions of national identities...

Hoover, Jean Marie.

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Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth)./
作者:	Hoover, Jean Marie.
面頁冊數:	799 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-02, Section: A, page: 0281.
Contained By:	Dissertation Abstracts International60-02A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9919507
ISBN:	0599185686

Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth).
Hoover, Jean Marie.

Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth). - 799 p.

Source: Dissertation Abstracts International, Volume: 60-02, Section: A, page: 0281.

Thesis (Ph.D.)--Indiana University, 1999.

Nationalism played a central role in shaping opera in the British Isles during the era known as the "English Musical Renaissance," which, in some estimations, began c. 1875--1885. Contemporary observers believed that while Germany, Italy, and France possessed operatic traditions expressive of their national characters, Britain lacked a similar heritage, having been under foreign domination since the death of Purcell. The desire for national opera manifested itself in an English press campaign and in a proliferation of new works by composers from throughout the British Isles. This study demonstrates that the movement for the creation of a native operatic tradition was not Anglo-centric, as the contemporary press and most subsequent histories have attested, but was marked by competing constructions of national identity. Composers from the Celtic countries asserted their independence from an English musical "union." Thus, the concept of a homogeneous "English Musical Renaissance" is replaced by the establishment of vying operatic renaissances.

ISBN: 0599185686Subjects--Topical Terms:

516178
Music.

Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth).
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245 1 0 $a Constructions of national identities: Opera and nationalism in the British Isles (Ralph Vaughan Williams, Benjamin Britten, Arthur Sullivan, Ethel Smyth).
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500 $a Source: Dissertation Abstracts International, Volume: 60-02, Section: A, page: 0281.
500 $a Chair: Jane Fulcher.
502 $a Thesis (Ph.D.)--Indiana University, 1999.
520 $a Nationalism played a central role in shaping opera in the British Isles during the era known as the "English Musical Renaissance," which, in some estimations, began c. 1875--1885. Contemporary observers believed that while Germany, Italy, and France possessed operatic traditions expressive of their national characters, Britain lacked a similar heritage, having been under foreign domination since the death of Purcell. The desire for national opera manifested itself in an English press campaign and in a proliferation of new works by composers from throughout the British Isles. This study demonstrates that the movement for the creation of a native operatic tradition was not Anglo-centric, as the contemporary press and most subsequent histories have attested, but was marked by competing constructions of national identity. Composers from the Celtic countries asserted their independence from an English musical "union." Thus, the concept of a homogeneous "English Musical Renaissance" is replaced by the establishment of vying operatic renaissances.
520 $a Chapter one establishes the predominant conception of national opera, as proposed and debated in the English press. Advocates implied that a governmental subsidy would transform opera from an imported art of the wealthy into a genre which could more democratically appeal to "the people."
520 $a Composers and librettists, however, did not agree as to who comprised "the people." They constructed competing conceptions of the national community through their manipulation of folk music, native subjects, and language. The body of the dissertations contains the analyses of English, Irish, Welsh, and Scottish operas. It considers three stages of operatic nationalism, ranging from works imitative of foreign opera, particularly those of Wagner, to operas which display a more nationalistic approach. Representative composers include Charles Stanford, Ethel Smyth, Joseph Parry, and Hamish MacCunn. It views the operas of Vaughan Williams and Britten against the backdrop of earlier efforts to establish national opera. Critical reception provides insights into contemporary assessments of the operas' significance. It is found that domestic nationalism resulted in the creation of operas with largely regional appeal. Though several had initial critical and popular success, most failed to enter the British operatic repertoire; diversity came at the expense of longevity.
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