The place of art music in Edwardian England: Issues of class, function, and taste.

摘要

The Edwardian era was a pivotal point in the attempted shift of placement, in art music as well as in other cultural endeavours, away from the elevated climes of the gentlemanly elite and into the more every-day realm of the Common Man. The goals of this study are to highlight political, economic, and social elements of nineteenth-century England that assist in an understanding of the musical environment and aspirations in the period leading up to the First World War, and to look at the delineation of a place for art music with reference to the ideals and values of the cultural elite and the members of the music community who promoted it.;This study is organized to move from those topics of more general socio-cultural application to those of more specifically musical application. The first three chapters look at aspects of English social, political and economic history that had a bearing on the development, over the nineteenth century, of the attitudes of the English of various class sectors towards music in private and public life (focusing on musical activity in London), on the segregation of art music from commercial popular music, and on the elevation of orchestral music to the pinnacle of the hierarchy of music by the end of the century. The last three chapters deal more specifically with issues associated with the profession of music in the years leading up to and including the so-called "musical renaissance." The concept of how the musical renaissance was institutionalized and encouraged by the dominant (professional) class, parallel to other contemporaneous social and cultural constructs, is considered as part of the general trend towards modernization, professional development, and nationalization. The debate within the professional ranks over the nature and role of national music is related to the overall endeavour by the dominant class to establish a single national cultural identity of Englishness, through the invention of tradition and the invocation of a shared heritage. Finally, specific issues concerning the place of music in the Edwardian era are canvassed, by reference to the personal ideologies and music of Parry, Elgar and Vaughan Williams.