Essays on the History of English Music in Honour of John Caldwell Book contents
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Music in Oxford, 1945–1960: The Years of Change
Published online by Cambridge University Press: 02 March 2023
- Frontmatter
- Contents
- Acknowledgments
- Contributors
- Abbreviations and Library sigla
- Introduction
- Traces of Lost Late Medieval Offices? The Sanctilogium Angliae, Walliae, Scotiae, et Hiberniae of John of Tynemouth (fl.1350)
- The Saints Venerated in Medieval Peterborough as Reflected in the Antiphoner Cambridge, Magdalene College, f.4.10
- Interactions between Brittany and Christ Church, Canterbury in the Tenth Century: The Linenthal leaf
- A New Source of Late Seventeenth- and Early Eighteenth-Century English Harpsichord Music by Barrett, Blow, Clarke, Croft, Purcell and Others
- The Earliest Fifteenth-Century Transmission of English Music to the Continent
- ‘Phantasy mania’: Quest for a National Style
- Purcell's 1694 Te Deum and Jubilate: Its Successors, and Its Performance History
- Imitative Counterpoint in Mid-Fifteenth-Century English Mass Settings
- Double cantus firmus Compositions in the Eton Choirbook
- Englishness in a Kyrie (Mis)attributed to Du Fay
- Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c. 1500–1640
- ‘As the sand on the sea shore’: Women Violinists in London's Concert Life around 1900
- The Carol in Anglo-Saxon Canterbury?
- Luisa de Carvajal y Mendoza and Music in an English Catholic House in 1605
- Music in Oxford, 1945–1960: The Years of Change
- Three Anglican Church Historians on Liturgy and Psalmody in the Ancient Synagogue and the Early Church
- Histories of British Music and the Land Without Music: National Identity and the Idea of the Hero
- John Caldwell (b 1938): Scholar, Composer, Teacher, Musician
- Index
- Tabula Gratulatoria
Summary
IN NOVEMBER 1945 the Oxford undergraduate newspaper Isis, newly reborn after a wartime hiatus of six years, declared: ‘The world can never stand still, and Oxford must change with it, or lose its pride of place as a University.’ For those with an interest in music in the University it would have been difficult, in the years from 1945 onwards, to avoid the sense that far-reaching changes were taking place. The death of Sir Hugh Allen as the result of an accident in 1946 seemed to mark the end of an era; with the consequent appointment of Jack Westrup (1904–75) as Heather Professor from 1947, the modern Faculty of Music, established in 1944, was set on course to explore new directions. From 1950, for the first time, it became possible to study at Oxford for an honours degree (BA) in the subject. This radical move was made in a climate seen as generally more conducive to the arts, a point that emerges in the early issues of Isis, post-war:
For the first time for many years, undergraduate Oxford is now no longer the preserve of the worlds of science, medicine, the unfit and the objector to war. A young race of Freshmen has arisen, representative of the arts as well as the crafts …
These ideas were echoed evocatively in an editorial the following May:
A year ago to-day, Oxford celebrated the victory of allied armies over Germany … Colleges were flood-lit; bonfires burned in streets and in college quads; Heads of Houses joined hands with Deans and Senior Tutors and tripped a merry measure round the leaping flames; milling masses swayed to the wail of gramophones on Magdalen Bridge and in the Broad. City and University vied with one another to do justice to the occasion … The University welcomed back its warriors … to resume their places in Hall, Chapel and lecture. Thanks to the wise decision of the Minister of Labour, Class B releases replenished the denuded ranks of the arts faculties. The Humanities, so long the step-child of the academic family, were once more gathered to its bosom and carefully nursed back to health.
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- Essays on the History of English Music in Honour of John CaldwellSources, Style, Performance, Historiography, pp. 281 - 297Publisher: Boydell & BrewerPrint publication year: 2010