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Early Music and the Choir of King's College, Cambridge, 1958 to 2015.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Early Music and the Choir of King's College, Cambridge, 1958 to 2015./
作者:	Sagrans, Jacob.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	255 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Choirs. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28250216
ISBN:	9798582598596

Early Music and the Choir of King's College, Cambridge, 1958 to 2015.
Sagrans, Jacob.

Early Music and the Choir of King's College, Cambridge, 1958 to 2015. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 255 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2016.

This item must not be sold to any third party vendors.

This dissertation is the first in-depth exploration of the connections between the Choir of King's College, Cambridge ("King's") and the early music revival since the mid-twentieth century. It is also one of the first detailed considerations of the role of choirs in the revival. The central question I aim to answer is: How has the vocal style of King's influenced the development of the vocal style of the early music revival in Britain? I show how the choir's 109 albums featuring music written before 1750 have helped spread and popularize what I call the "King's sound." This sound is characterized by a high level of blend within choral sections, an even balancing of sections with one another, little vibrato, few changes in tempo and dynamics, and a light, bright, and breathy timbre. It is similar to a broader "English sound" found among other Oxbridge college choirs as well as British vocal ensembles specializing in early music. I argue that King's was an important precursor to these specialist early music ensembles, as the choir began issuing many albums in the 1950s, before a large number of specialist groups formed in the 1970s and 1980s.King's was also compatible with and helped bolster the valuing of historical authenticity in the early music revival. Because the choir has sung frequently in church services since its foundation in the fifteenth century, listeners can see King's as exemplifying longstanding English sacred traditions. In addition, the King's sound itself seems more historically sensitive for early music than a singing style with hallmarks of nineteenth-century performance practice, such as heavy vibrato and frequent or large changes in tempo and dynamics.I also argue that the close links between King's and powerful and wealthy British institutions-particularly the University of Cambridge and the Church of England-aided in spreading the King's sound. In addition, the all-male and mostly Caucasian composition of the choir allows listeners to see it as a remnant of Britain before twentieth-century feminist movements and modern waves of immigration. This reinforces the choir's sense of historical authenticity as well as its appeal given the hegemonic status of whiteness and masculinity. I also suggest that the King's sound itself reflects the relatively homogeneous identity of choir members by way of its exclusion of "other" sounds (and bodies) in favor of choral blend. To conclude, I examine how King's has influenced the early music revival by training performers, by making premiere recordings of Renaissance and Baroque compositions, and by collaborating with instrumental ensembles. I also consider how other ensembles and trends in the revival have influenced King's, particularly the rise of historically informed performance.

ISBN: 9798582598596Subjects--Topical Terms:

3556285
Choirs.
Subjects--Index Terms:

Religious music

Early Music and the Choir of King's College, Cambridge, 1958 to 2015.
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245 1 0 $a Early Music and the Choir of King's College, Cambridge, 1958 to 2015.
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300 $a 255 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
500 $a Advisor: Cumming, Julie;Schubert, Peter.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2016.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation is the first in-depth exploration of the connections between the Choir of King's College, Cambridge ("King's") and the early music revival since the mid-twentieth century. It is also one of the first detailed considerations of the role of choirs in the revival. The central question I aim to answer is: How has the vocal style of King's influenced the development of the vocal style of the early music revival in Britain? I show how the choir's 109 albums featuring music written before 1750 have helped spread and popularize what I call the "King's sound." This sound is characterized by a high level of blend within choral sections, an even balancing of sections with one another, little vibrato, few changes in tempo and dynamics, and a light, bright, and breathy timbre. It is similar to a broader "English sound" found among other Oxbridge college choirs as well as British vocal ensembles specializing in early music. I argue that King's was an important precursor to these specialist early music ensembles, as the choir began issuing many albums in the 1950s, before a large number of specialist groups formed in the 1970s and 1980s.King's was also compatible with and helped bolster the valuing of historical authenticity in the early music revival. Because the choir has sung frequently in church services since its foundation in the fifteenth century, listeners can see King's as exemplifying longstanding English sacred traditions. In addition, the King's sound itself seems more historically sensitive for early music than a singing style with hallmarks of nineteenth-century performance practice, such as heavy vibrato and frequent or large changes in tempo and dynamics.I also argue that the close links between King's and powerful and wealthy British institutions-particularly the University of Cambridge and the Church of England-aided in spreading the King's sound. In addition, the all-male and mostly Caucasian composition of the choir allows listeners to see it as a remnant of Britain before twentieth-century feminist movements and modern waves of immigration. This reinforces the choir's sense of historical authenticity as well as its appeal given the hegemonic status of whiteness and masculinity. I also suggest that the King's sound itself reflects the relatively homogeneous identity of choir members by way of its exclusion of "other" sounds (and bodies) in favor of choral blend. To conclude, I examine how King's has influenced the early music revival by training performers, by making premiere recordings of Renaissance and Baroque compositions, and by collaborating with instrumental ensembles. I also consider how other ensembles and trends in the revival have influenced King's, particularly the rise of historically informed performance.
520 $a «La musique ancienne et le Choeur du King's College, Cambridge, 1958 a 2015 »Cette these est la premiere exploration en profondeur des liens existant entre le Choeur du King's College, Cambridge (« King's ») et le mouvement pour le renouveau de la musique ancienne depuis le milieu du XXe siecle. C'est egalement l'une des premieres considerations du role des choeurs au sein de ce renouveau. La question centrale a laquelle je tenterai de repondre est la suivante : comment le style vocal du King's a-t-il influence le developpement du style vocal du renouveau de la musique ancienne en Grande-Bretagne ? Je demontre comment les 109 albums du choeur sur lesquels l'on retrouve de la musique composee avant 1750 ont aide a disseminer et populariser ce que j'appelle le « King's sound » (le « son King's »). Ce son se caracterise par un haut degre de fondu choral (« blend »), un equilibre uniforme des sections chorales entre elles, peu de vibrato, peu de changements de tempo et de dynamiques, ainsi qu'un timbre sonore qui est leger, brillant et aere. Il est semblable au « English sound » (« son anglais ») que l'on retrouve parmi d'autres choeurs des colleges d'Oxbridge ainsi que des choeurs britanniques se specialisant dans la musique ancienne. Je demontre que King's fut un precurseur important de ces ensembles specialises parce que le choeur ayant commence a produire des albums des les annees 1950, avant la formation de nombreux groupes specialises de musique ancienne dans les annees 1970 et 1980. King's etait egalement compatible avec, et contribua a fortifier, la valorisation de l'authenticite historique au sein du renouveau de la musique ancienne. Puisque le choeur a frequemment chante dans des services religieux depuis sa fondation au XVe siecle, les auditeurs peuvent percevoir King's comme illustrant des traditions sacrees anglaises tres anciennes. En outre, le son King's lui-meme apparaissait plus historiquement sensible pour la musique ancienne qu'un style vocal qui a des caracteristiques rappelant les pratiques d'interpretation du XIXe siecle, telles qu'un fort vibrato et des changements frequents ou prononces de tempi et dynamiques. Je propose egalement que les liens etroits entre King's et des institutions britanniques puissantes et riches- particulierement l'Universite de Cambridge et l'Eglise d'Angleterre - ont contribue a la dissemination du son King's. De plus, la composition entierement masculine et principalement caucasienne du choeur permet aux auditeurs de le percevoir comme un vestige de la Grande-Bretagne avant les mouvements feministes du XXe siecle et les vagues d'immigrations contemporaines. Ceci renforce le sentiment d'authenticite historique du choeur ainsi que son attrait, etant donne le statut hegemonique de la race blanche et de la masculinite. Je suggere aussi que le son King's lui-meme reflete l'identite relativement homogene des membres du choeur par son exclusion des sons alternatifs (et de different types de personnes) en faveur d'une homogeneite chorale. En conclusion, j'examine de quelle maniere King's a influence le renouveau de la musique ancienne grace a la formation d'interpretes, par l'enregistrement d'oeuvres de la Renaissance et de la periode baroque qui n'a jamais ete enregistre auparavant, et par la collaboration avec des ensembles instrumentaux. Je m'interesse egalement a la maniere dont d'autres ensembles et tendances au cours de ce renouveau ont influence King's, particulierement l'essor d'interpretations historiques.
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