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Granville Bantock: A Guide to Research provides both researchers and British music aficionados an entry to documents, books, articles, recordings, and the like currently available for further study about Bantock’s life and music.
My book begins with a brief consideration of what we mean by “English music” and what factors are involved. I explain the reasons behind my choice of composers for consideration, and for the omissions from the survey.
In many ways the history of British light music knits together the social and economic history of the country with that of its general musical heritage. Numerous 'serious' composers from Elgar to Britten composed light music, and the genre adapted itself to incorporate the changing fashions heralded by the rise and fall of music hall, the drawing room ballad, ragtime, jazz and the revue. From the 1950s the recording and broadcasting industries provided a new home for light music as an accompaniment to radio programmes and films. Geoffrey Self deftly handles a wealth of information to illustrate the immense role that light music has played in British culture over the last 130 years. His insightful assessments of the best and the most shameful examples of the genre help to pinpoint its enduring qualities; qualities which enable it to maintain a presence in the face of today's domination by commercial popular music.
The history of English song from the late nineteenth century to the Second World War.
Material from Classical Music (Eyewitness Companion) with updates. This book is a guide to every aspect of the long and ongoing story of Western classical music. It reveals in a stimulating and lively way the exceptionally gifted individuals who have shaped the musical landscape over a millennia, from the chanting monks of the middle ages to the bold exponents of minimalism of the last 100 years. Personal and creative profiles of composers, both major and minor, form the heart of the book and offer rich insights into the qualities of their music and an ideal introduction to the range and diversity of the Classical repertoire.
This book examines the development of English-translated Tang poetry and its propagation to the Western world. It consists of two parts, the first of which addresses the initial stage of English-translated Tang poetry’s propagation, and the second exploring its further development. By analyzing the historical background and characteristics of these two stages, the book traces the trend back to its roots, discusses some well-known early sinologists and their contributions, and familiarizes readers with the general course of Tang poetry’s development. In addition, it presents the translated versions of many Tang poems. The dissemination of Tang poetry to the Western world is a significant event in the history of cross-cultural communication. From the simple imitation of poetic techniques to the acceptance and identification of key poetic concepts, the Tang poetry translators gradually constructed a classic “Chinese style” in modern American poetry. Hence, the traditional Chinese culture represented by Tang poetry spread more widely in the English-speaking world, producing a more lasting impact on societies and cultures outside China – and demonstrating the poetry’s ability to transcend the boundaries of time, region, nationality and culture. Due to different cultural backgrounds, the Tang poets or poems admired most by Western readers may not necessarily receive high acclaim in China. Sometimes language barriers and cultural differences make it impossible to represent certain allusions or cultural and ethnic concepts correctly during the translation process. However, in recent decades, the translation of Tang poetry has evolved considerably in both quantity and quality. As culture is manifested in language, and language is part of culture, the translation of Tang poetry has allowed Western scholars to gain an unprecedented understanding of China and Chinese culture.
This fascinating new study is about cultural change and continuities. At the core of the book are discrete literary studies of Scotland and Shakespeare, Walter Scott, R.L. Stevenson, Arthur Conan Doyle, the modern Scottish Renaissance of the 1920s and more recent cultural and literary phenomena. The central theme of literature and popular 'representation' recontextualises literary analysis in a broader, multi-faceted picture involving all the arts and the changing sense of what 'the popular' might be in a modern nation. New technologies alter forms of cultural production and the book charts a way through these forms, from oral poetry and song to the novel, and includes studies of paintings, classical music, socialist drama, TV, film and comic books. The international context for mass media cultural production is examined as the story of the intrinsic curiosity of the imagination and the intensely local aspect of Scotland's cultural self-representation unfolds.