The latest issue of NABMSA Reviews (Vol. 4, No. 1) is now available. It contains reviews of books on British hymn books for children, Bedford’s choral society, Gilbert and Sullivan, the music of Frank Bridge, and the commercial side of art music in the 19th and early 20th centuries.
North American British Music Studies Association
The latest issue of NABMSA Reviews (Vol. 3, No. 2) is now available. It has reviews of books on the player piano in the Edwardian age, the sea in the British imagination, nineteenth-century London concert life, identity in Irish music, the British symphony and the London Royal College of Music Library.
We are pleased to announce that the following people have been elected to serve as officers and board members of NABMSA. They will take up their posts on January 1, 2017.
Vice-President: Linda Austern
Treasurer: Therese Ellsworth
Board Member: Christina Baade
Student Board Member: Imani Mosley
Congratulations to these members and thanks to all who stood for election!
NABMSA is pleased to announce that the winner of the biennial Temperley prize for the outstanding student paper at the Seventh Biennial Conference in Syracuse is Christy J. Miller. Miller, a doctoral student at the University of Kansas, presented a paper entitled ““If They Can Do It, I Guess That We Can, Too”: Folk and “Folk-Styled” Music as Propaganda in The Martins and the Coys.” The abstract is below. Congratulations to Ms. Miller and all of the excellent student papers!
The Martins and the Coys is one of three ballad operas the BBC commissioned from American writers and musicians for radio broadcast in England in 1944 and 1945. The productions were modeled on the tradition of English ballad opera: they were plays with spoken dialogue, and popularly known songs and contrafacta were interpolated throughout. However, each uses an archetypal American topic: the Harlem Renaissance, a cattle drive across the untamed frontier, and—in The Martins and Coys—an Appalachian family feud. In addition to popular songs, they utilized folk, blues, and “folk-styled” songs not only because they were stylistically appropriate to the subject matter but also for the purpose of representing the American experience to English audiences. These ballad operas were part of a discreet propaganda campaign to encourage mutual understanding and solidarity between English and American citizens on the home front, and to promote transcultural understanding between England and the U.S. during and after the war.
Documentary evidence from the BBC Written Archives, Listener Research reports, and critical reviews reveal how The Martins and the Coys was received, and additional planning documents and correspondence help to reconstruct ideology surrounding the three ballad operas. Musically, I analyze performative aspects of the radio productions using extant recordings, considering how the choice of repertory, performers, and arrangement styles were intended to influence perceptions of international camaraderie. Through analytical strategies of propaganda theory and psychological warfare, I investigate American intentionality and English response to the ballad opera’s message of reconciliation and solidarity. Ultimately, examining the ballad opera with these frameworks contributes to our understanding of the relationship between the United States and England during World War II, and it adds to the scholarly body of knowledge concerning American radio propaganda as a part of British musical life.
Aspden, Suzanne. “‘Sancta Cæcilia Rediviva’. Elizabeth Linley: Repertoire, Reputation and the English Voice.” Cambridge Opera Journal 27/3 (November 2015): 263-287.
Atlas, Allan. “On the Reception of Vaughan Williams’s Symphonies in New York, 1920/1–2014/15.” Royal Musical Association Research Chronicle 41/1 (2016): 24-86.
Baade, Christina. “‘Something We Cannot Get in England’: Hearing Anglo-American Difference in America Dances.” American Music 33/3 (Fall 2015): 307-344.
Banfield, Stephen. “Grainger the Edwardian.” Musicology Australia 37/2 (March 2016): 148-166.
Bucciarelli, Melania. “Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva–Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera.” Cambridge Opera Journal 27/3 (November 2015): 189-213.
Desler, Anne. “The little that I have done is already gone and forgotten’:Farinelli and Burney Write Music History.” Cambridge Opera Journal 27/3 (November 2015): 215-238.
Duncan, Cheryll. “New Purcell Documents from the Court of King’s Bench.” Royal Musical Association Research Chronicle 41/1 (2016): 1-23.
Grimley, Daniel M. “Music, Landscape, and the Sound of Place: On Hearing Delius’s Song of the High Hills.” Journal of Musicology 33/1 (Winter 2016): 11-44.
Guthrie, Kate Guthrie. “Awakening ‘Sleeping Beauty’: The Creation of National Ballet in Britain.” Music & Letters 96/3 (August 2015): 418-48.
Hamilton, Katy. “‘A man of many hobbies…’: Alan Adair and the Concerts of the Adair Wounded Fund.” Fontes Artis Musicae 63/1 (January-March 2016): 33-43.
Hill, Jennifer. “Deeply helpful training’: Percy Grainger’s First Piano Teachers in Late Nineteenth-century Melbourne.” Musicology Australia 37/2 (March 2016): 135-147.
Johnstone, Jennifer. “Welshness and Choral Singing: Cognitive and Sociohistorical Aspects of Cultural Identity in North Wales.” Journal of the Canadian Society for Traditional Music 42/1 (2015): https://journals.lib.unb.ca/index.php/MC/issue/view/1826.
Kingsbury, Stephen. “Aesthetic Meaning in the Congregational Masses of James MacMillan.” Yale Journal of Music & Religion 2/1 (2016): http://dx.doi.org/10.17132/2377-231X.1014.
Loomis, Karen, Ticca Ogilvie, and Lore Troalen. “Reidentifying the wood of the Queen Mary and Lamont harps.” Early Music 43/4 (2015): 623-634.
Marini, Stephen A. “Whitefield’s Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), and the Fashioning of Early Evangelical Sacred Song.” Yale Journal of Music & Religion 2/1 (2016): http://dx.doi.org/10.17132/2377-231X.1043.
McLaughlin, Noel. “Another Green World?: Eno, Ireland and U2.” Popular Music History 9/4 (2014): 173-194: https://journals.equinoxpub.com/index.php/PMH/issue/current.
Nedbal, Martin. “Reinterpreting The Bartered Bride: Vašek as a Model for Britten’s Albert Herring.” Journal of Musicological Research 34/3 (2015): 275-298.
Owen, Ceri. “Making an English Voice: Performing National Identity during the English Musical Renaissance.” Twentieth-Century Music 13/1 (March 2016): 77-107.
Robinson, Suzanne. “‘Life’s Major Crossroads’: Study and Career Paths of Four Australian Women Composers at the Royal College of Music in the 1930s.” Musicology Australia 37/2 (March 2016): 167-184.
Russell, Dave. “Key Workers: Toward an Occupational History of the Private Music Teacher in England and Wales, c.1861–c.1921.” Royal Musical Association Research Chronicle 41/1 (2016): 145-72.
Scobie, Christopher. “Ephemeral Music?: – The ‘Secondary Music’ Collection at the British Library.” Fontes Artis Musicae 63/1 (January-March 2016): 21-32
Sharpe, Richard. “Tommaso Giordani, Gregorio Ballabene’s Messa a dodici cori con organo and Sacred Music in Late-Eighteenth-Century Dublin.” Journal of the Society for Musicology in Ireland Vol. 11 (2015-16): 25-35.
Smith, Neil Thomas. “The Case for a British Darmstadt.” Tempo 69/274 (October 2015): 50-57.
Stirling, Christabel. “Sound Art / Street Life: Tracing the social and political effects of sound installations in London.” Journal of Sonic Studies 11 (2016): http://sonicstudies.org/current.
Turner, Kristen M. “Class, Race, and Uplift in the Opera House: Theodore Drury and His Company Cross the Color Line.” Journal of Musicological Research 34/3 (2015): 320-351.
Walden, Daniel K.S. “Charting Boethius: Music and the Diagrammtic Tree in the Cambridge University Library’s de Institutione Arthimetica, MS II.3.12.” Early Music History 34 (October 2015): 207-28.
Watson, Laura. “Epitaph for a Musician: Rhoda Coghill as Pianist, Composer and Poet.” Journal of the Society for Musicology in Ireland Vol. 11 (2015-16): 3-23.
The Beatles are Here!: 5- Years After the Band Arrived in America, Writers and Other Fans Remember. Chapel Hill, NC: Algonquin Books of Chapel Hill, 2014.
Beyond Britten: The Composer and the Community. Edited by Peter Wiegold and Ghislaine Kenyon. Woodbridge, UK: Boydell Press, 2016.
Felix Aprahamian: Diaries and Selected Writings on Music. Edited by Lewis Foreman and Susan Foreman. Woodbridge, UK: Boydell and Brewer, 2015.
Fuhrmann, Christina. Foreign Opera at the London Playhouses, from Mozart to Bellini. Cambridge and New York: Cambridge University Press, 2015.
Gelly, Dave. An Unholy Row: Jazz in Britain and its Audience, 1945-1960. Cambridge and New York: Cambridge University Press, 2014.
Grainger the Modernist. Edited by Robinson, Suzanne and Kay Dreyfus. Farnham, UK: Ashgate, 2015.
Hunter, David. The Lives of George Frideric Handel. Woodbridge, UK: Boydell and Brewer, 2015.
Huston, Jennifer L. US: Changing the World through Rock ‘n’ Roll. North Mankato, MN: Capstone Press, 2015.
Johnston, Roy with Declan Plummer. The Musical Life of Nineteenth-Century Belfast. Farnham, UK: Ashgate, 2015.
Lazareviće, Slobodan and Radmila Paunovic Stajn. The Mythological in the Operas of Benjamin Britten. Lewiston, NY and Ceredigion Wales: Edwin Mellen Press, 2014.
Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family. Edited by Nicholas Temperley. Woodbridge, UK: Boydell Press, 2016.
Palmer, Andrew. Encounters with British Composers. Woodbridge, UK: Boydell and Brewer, 2015.
Ritchie, Fiona and Douglas M. Orr. Wayfaring Strangers: The Musical Voyage from Scotland and Ulster to Appalachia. Chapel Hill, NC: The University of North Carolina Press, 2014.
The Sea in the British Musical Imagination. Edited by Eric Saylor and Christopher M. Scheer. Woodbridge, UK: Boydell & Brewer Ltd., 2015.
Smith, Jeremy L. Verse and Voice in Byrd’s Song Collections of 1588 and 1589. Woodbridge, UK: Boydell Press, 2016.
Tougas, Jose. The Beatles: Defining Rock ‘n’ Roll. North Mankato, MN: Capstone Press, 2015.