Files in this item
|(no description provided)|
|Title:||The Irish partsongs of Charles Villiers Stanford|
|Author(s):||Nash-Robertson, Nina Marie|
|Doctoral Committee Chair(s):||Temperley, Nicholas|
|Department / Program:||Music|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||Charles Villiers Stanford was a major force in bringing the music of the British Isles to the table of nationalism that had increasingly influenced the course of music in Europe throughout the nineteenth century. Born and raised in Dublin, Ireland, he would migrate permanently to England, where he would become professor of music at the University of Cambridge and a teacher, conductor, and composer of high renown. His vast compositional output included symphonies, operas, concertos, church music, songs, piano/vocal arrangements of Irish folk music and over 60 SATB partsongs. Among the latter are the 14 Irish partsongs that are the focus of this study.
The three main groupings of Stanford's partsongs include settings of Elizabethan poetry, settings of poetry by Mary Coleridge, and Irish folksong arrangements. The freest partsongs are the Coleridge settings, which are the musical expressions of the words of a contemporary poet. The Elizabethan poetry is much more conservative than the Coleridge in terms of form, rhyme scheme, and language. The Irish works are clearly the most conservative, because they are, in fact, merely arrangements of pre-existing melodies rather than newly created works.
In order to form a basis of study for the Irish partsongs--that is, to determine Stanford's "normal" style in setting four-part a cappella music--the study investigates the Elizabethan partsongs, Op. 49, 53, and 67 regarding form, rhythm, color, melodic treatment, texture, and harmony. The following chapters investigate Irish music in general and Stanford's Irish folksongs in particular. They are compared with the Elizabethan partsongs to determine (1) how do the Irish songs compare with, or differ from, his "normal" style, as determined by characteristics found in other partsongs, (2) how does one define the "Irishness" of Stanford's Irish partsongs, and (3) how does Stanford preserve, or enhance, the elements of "Irishness" in these works?
|Rights Information:||Copyright 1993 Nash-Robertson, Nina Marie|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9314921|
This item appears in the following Collection(s)
Graduate Dissertations and Theses at Illinois
Graduate Theses and Dissertations at Illinois
Dissertations and Theses [Graduate College] - Music