Chapter 1: Introduction
In the first chapter of “A New English Music: Composers and Folk Traditions in England’s Musical Renaissance”, author Tim Rayborn lays out the main idea of his book: the relationship between composers and folk traditions in England during the late 19th to mid-20th century. He explains that this period saw a revival of interest in folk music and its incorporation into classical compositions, leading to a “new English music” that reflected the cultural identity and heritage of the English people. Rayborn also sets the historical context for this musical renaissance, discussing the political and social changes that occurred during this time, such as the Industrial Revolution and a renewed interest in English nationalism.
Chapter 2: The English Folk Revival
The second chapter delves into the English folk revival, which was a significant movement in the late 19th and early 20th century that sought to collect, preserve, and celebrate traditional folk music. Rayborn discusses important figures in the revival, such as Cecil Sharp and Ralph Vaughan Williams, and their contributions to this movement. He also explores the influence of the Arts and Crafts Movement and the Ruralist movement on the folk revival, as well as the non-musical aspects of the revival, such as folk dance and literature.
Real example: One of the key figures mentioned in this chapter is Cecil Sharp, an English folk collector who traveled around the countryside to collect traditional songs and dances. He is known for his work in preserving and promoting English folk music, and his collection of over 5,000 folk songs and dances are still used as primary sources by musicians and researchers today. An example of his influence can be seen in the song “The Trees They Do Grow High”, which Sharp collected from a woman in Somerset in 1903. This song has since been recorded by numerous artists, including Joan Baez and Sandy Denny.
Chapter 3: Folk-influenced Classical Compositions
The third chapter explores the ways in which folk music was incorporated into classical compositions during the English musical renaissance. Rayborn looks at specific examples of composers who were influenced by folk music, such as Gustav Holst and George Butterworth, and examines how they incorporated folk elements into their works. He also discusses the difference between “folk music-inspired” compositions and those that directly and explicitly use actual folk melodies.
Real example: Ralph Vaughan Williams’ “English Folk Song Suite” is a well-known example of a classical composition that incorporates traditional folk melodies. The piece is based on three traditional English folk songs that Vaughan Williams collected during his travels through rural England. These folk songs are “Seventeen Come Sunday”, “My Bonny Boy”, and “Folk Songs from Somerset”. Through his arrangement and orchestration of these songs, Vaughan Williams combines folk elements with a classical structure, creating a unique musical fusion that reflects his identity as an English composer.
Chapter 4: The Influence of Regional Folk Traditions
In this chapter, Rayborn discusses the regional variations of folk traditions in England and their influence on classical composers. He explores the differences between the folk music of different regions, such as East Anglia, the West Midlands, and the North. Rayborn also examines the impact of regional folk traditions on classical composers who were not from England but were drawn to its Folk revival, such as the Irish composer Charles Wood and the American composer Percy Grainger.
Real example: The Northumbrian region, which includes Northumberland and Durham, has a distinct tradition of folk music characterized by its use of the Northumbrian smallpipes. This regional music had a strong influence on English composer George Butterworth, who was from London but spent much time in Northumberland. His compositions, such as “The Banks of Green Willow” and “A Shropshire Lad”, use elements of Northumbrian folk music, including the pentatonic scale and pipe-like melodies.
Chapter 5: Folk Music and English Nationalism
In the final chapter, Rayborn explores the connections between folk music and English nationalism during the musical renaissance. He discusses the ways in which the folk revival and its incorporation into classical music reflected a growing English national identity and pride. Rayborn also examines the political implications of this nationalism and its impact on cultural diversity and inclusivity.
Real example: Composer Gustav Holst is known for his work “The Planets”, but he was also an enthusiastic supporter of the English folk revival. He incorporated elements of folk music into his work, including the use of traditional folk melodies in his choral piece “A Somerset Rhapsody”. Holst saw this as a way to celebrate and preserve the English musical heritage, while also creating a distinctly English style of classical music.
