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The quest for national musical ident...

Mero, Alison.

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The quest for national musical identity: English opera and the press, 1834-1849.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The quest for national musical identity: English opera and the press, 1834-1849./
Author:	Mero, Alison.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
Description:	329 p.
Notes:	Source: Dissertations Abstracts International, Volume: 76-07, Section: A.
Contained By:	Dissertations Abstracts International76-07A.
Subject:	European history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3668941
ISBN:	9781321443349

The quest for national musical identity: English opera and the press, 1834-1849.
Mero, Alison.

The quest for national musical identity: English opera and the press, 1834-1849. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 329 p.

Source: Dissertations Abstracts International, Volume: 76-07, Section: A.

Thesis (Ph.D.)--Indiana University, 2014.

In 1834, a new genre of English romantic opera arose in London. Modelled on adaptations of continental opera, this new type of opera used melodramatic plots, spoken dialogue, and a heterogeneous mixture of international and native musical styles. Critics immediately took notice, and though they were largely unsatisfied with this new genre of opera, they used their criticism of it to advocate for a national musical identity as well as a more elevated national genre of opera. Using three criteria for national identity as described by Linda E. Connors and Mary Lu MacDonald--a shared past, a shared Other, and an inclusive ideology-I show that the criticism of English romantic opera from 1834-1849 represents a critical quest for a national musical identity. Critics predominantly emphasized the absence of native opera in the preceding decades as the shared musical past. Continental opera served as the shared Other. An inclusive ideology proved to be most problematic to define, since critics were unable to come to a consensus on what exactly English opera should be. The criticism surrounding John Barnett's The Mountain Sylph, Michael Balfe's The Siege of Rochelle, and John Hullah's The Village Coquettes shows how critics use concepts of originality, plagiarism, and Englishness in their attempts to define a national musical identity. J. W. Davison, a prominent critic, aggressively campaigned for English opera to represent national identity. The reception of Balfe's The Bohemian Girl shows how the same concerns continued to the end of the nineteenth century. Ultimately critics were never able to bridge the gulf between their ideal (and idealized) national musical identity and the actual operas that were produced, in spite of the popularity and longevity of the genre.

ISBN: 9781321443349Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

English opera

The quest for national musical identity: English opera and the press, 1834-1849.
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520 $a In 1834, a new genre of English romantic opera arose in London. Modelled on adaptations of continental opera, this new type of opera used melodramatic plots, spoken dialogue, and a heterogeneous mixture of international and native musical styles. Critics immediately took notice, and though they were largely unsatisfied with this new genre of opera, they used their criticism of it to advocate for a national musical identity as well as a more elevated national genre of opera. Using three criteria for national identity as described by Linda E. Connors and Mary Lu MacDonald--a shared past, a shared Other, and an inclusive ideology-I show that the criticism of English romantic opera from 1834-1849 represents a critical quest for a national musical identity. Critics predominantly emphasized the absence of native opera in the preceding decades as the shared musical past. Continental opera served as the shared Other. An inclusive ideology proved to be most problematic to define, since critics were unable to come to a consensus on what exactly English opera should be. The criticism surrounding John Barnett's The Mountain Sylph, Michael Balfe's The Siege of Rochelle, and John Hullah's The Village Coquettes shows how critics use concepts of originality, plagiarism, and Englishness in their attempts to define a national musical identity. J. W. Davison, a prominent critic, aggressively campaigned for English opera to represent national identity. The reception of Balfe's The Bohemian Girl shows how the same concerns continued to the end of the nineteenth century. Ultimately critics were never able to bridge the gulf between their ideal (and idealized) national musical identity and the actual operas that were produced, in spite of the popularity and longevity of the genre.
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