The secular songs of John Blow (1649-1708) : an edition

[摘要] ENGLISH ABSTRACT:The secular songs of John Blow (1649-1708): An EditionThe aim of this thesis is to assemble the 109 secular songs of John Blow in oneanthology, to transcribe them into modem notation and in doing so to make themaccessible for modem use and further research.A significant feature of this collection is a group of 13 songs which have not beenprinted previously and which are available only in manuscript form in specialcollections in Great Britain. Other songs published during Blow's lifetime arelikewise found in special collections which are not accessible to the public. Many ofthese songs are hard to decipher because of ageing. In some cases the paper is so thinthat the notes show through from the back to the detriment of readibility. Where themanuscripts as well as contemporary publications exist, significant comparisons couldbe made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118manuscript could be compared with the published version in Choice Ayres and Songsprinted by Godbid and Playford (jnr) in 1683.An important 'discovery' was finding that an autograph manuscript, Ah me, undone!(Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw(1980), but an excerpt from the song Happy the Man who languishing (1700). Thismade it possible to compare an original manuscript by Blow with a publication of thesame song by Playford.The 20th century has seen renewed interest in Blow's work: Frederick GeorgeEdwards (1902) and William Cummings (1908), in particular, started this revival ininterest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) wasresponsible for the next phase. Since 1975, Bruce Wood has been the main researcherof Blow's anthems. Anthony Rooley, director of the Consort of Musicke in Londonand Peter Holman, director of the Parley of Instrument, have contributed greatly tothe recent (1987-1999) revival of interest in Blow's music with their performancesand recordings making use of original instruments. This thesis, as well as my Master'sthesis (Grobler 1993), forms part of the most recent stage of research into Blow'sworks.Volume 1:In the first chapter of the thesis the secular song of the English Restoration (1660-1714) is presented in perspective. Blow's stylistic characteristics as they manifestthemselves in his secular songs are discussed. The criticism that this style evokedfrom music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of Frenchand Italian vocal music, as well as the strong influence of Charles II's preferences on .court composers' music, are highlighted. The function of the song in Restorationsociety is discussed.In the second chapter Blow's contribution to the different song types are discussed indetail: the solo songs, songs for two voices and dialogues, songs for more than twovoices and songs for incidental theatre music.The editorial process followed in transcribing the songs is explained. This is based onthe methods suggested in Caldwell (1985) and described in the Musica Britannica. Adiscussion of the performing practice of the song contributes towards understandingthe Restoration song.The textual commentary deals with aspects, such as notation and provides moreinformation about the manuscripts and publications which form the basis of thisinvestigation. A systematic index of sources and songs is provided.Volume 2:In this volume the 109 songs are presented chronologically in modem edited form.The songs reflect the original manuscript or publication as clearly as possible; oldEnglish spelling has been retained but archaic English letter forms have beenmodernised. Clef signs, time signatures, and key signatures, as well as accidentals,have been used according to modem practice. The figured bass is given as featured inthe sources and is not realised or expanded.

[发布机构] Stellenbosch University