<< -- 3 -- Peter Dale NO APOLOGIES
But actually this is not a scholarly book in any of the forbidding, prohibitive
senses of that word. There is no jargon (though there is an assumption that
the reader will want to read the music examples -- there are lots).
There is none of that brandishing of grand Theory that characterises so
much of musicology (and Literary Criticism) now that attitude is reckoned
co-terminous with substance. There is none of that terminally tedious business
of academic back-scratching (your friends) or point-scoring (off your rivals)
that passes for scholarship in even the best of our universities these days.
There is, however, an excellent Bibliography, a thoroughly plotted index
and a short, accessible Glossary.
Nevertheless, if you want to know, in accessible terms, good English
and intelligent discussion, almost everything else -- how and why, for
example, George Butterworth's Loveliest of trees, the cherry casts
its spell over you, why Warlock's The Frost-bound Wood once
heard is unforgettable, or how you ever survived without the expression
trompe d'oreille for certain mimetic effects in piano writing
-- this is the book to read. I imagine this will be the standard work
on the subject for the foreseeable future.
Copyright © 18 February 2003
Peter Dale, Danbury, Essex, UK
PUBLISHER'S INFORMATION ABOUT THIS BOOK
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RODERIC DUNNETT ON WAR POETS AND COMPOSERS
Parry to Finzi
Twenty English Song-Composers
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ISBN 0 85115 887 0, hardback, 480 pages