Source:Cambridge University Press,, Cambridge, United Kingdom ; New York, United States , p.1 online resource (xxxiv, 444 pages) : (2023)
Keywords:(OCoLC)fst01030269, fast, History and criticism., Music, Music., Wales
Includes bibliographical references and index.Music in Welsh History / Trevor Herbert -- Words for Music : Describing Musical Practices in Medieval Welsh Literature / Helen Fulton -- Music in Worship before 1650 / John Harper -- Secular Music before 1650 / Sally Harper -- The Eisteddfod Tradition / Rhidian Griffiths -- Women and Welsh Folk Song / Wyn Thomas -- Instrumental Traditions after 1650 / Rhidian Griffiths, Trevor Herbert and Stephen P. Rees -- The Celtic Revival / Helen Barlow -- Musical Communications in the Long Nineteenth Century / Rhidian Griffiths -- Nonconformists and their Music / Martin V. Clarke -- Professionalisation in the Twentieth / Century Lyn Davies -- Composing Cymru : Art Music since 1940 / Nicholas Jones -- Traditions and Interventions : Popular Music 1840-1940 / Trevor Herbert -- New Traditions : Welsh Popular Music into the Twenty-first Century / Sarah Hill -- Singing Welshness : Sport, Music and the Crowd / Helen Barlow and Martin V. Clarke -- Postscript. Contemporary Wales, Devolution and Digitisation / Trevor Herbert, Sally Harper and Sarah Hill."All histories of music need contexts, but some more than others. The relevant contexts, at least in western music, have been patronage (whether benevolent or commercial), cultural production and distribution, the audiences for which music has been written and performed, the needs and purposes it has served, and how continuities have been interrupted by musical or extra-musical interventions. It would not be an enormous step to think of Welsh music history in similar terms were it not for the sizeable adjustment needed because Welsh music has not consistently followed the path of the mainstream European tradition. There is no body of secular works in the art music category from before the mid-twentieth century that has gained sustained public interest or deserved serious analytical attention, so no claim can be made for Welsh music to have a composer-led history. It can therefore reasonably be asked why Wales should famously be regarded as a 'musical nation' and a 'land of song'. These could be dismissed as stock phrases of the type routinely tagged to national stereotypes, which gain currency by repetition, but it would be a mistake to pass over them too lightly. They deserve unpicking because they contain historical substance, and to an extent, have configured the way the Welsh have regarded themselves and how others have often described them"--Description based on online resource; title from digital title page (viewed on September 16, 2022).