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Andrew J Cheetham

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Conference Presentations by Andrew J Cheetham

Biography, Mythology, and Narrativity in English Music of the Seventeenth Century

Provincial Patronage and ‘Progressive’ Peripheries: Sir Christopher Hatton III and George Jeffreys

Porter’s Psalm Settings and Paradoxes

Conflict and Contradiction in Porter’s Mottets

The Count and the Cavaliers: extreme chromaticism and unconventional harmonies in the music of Gesualdo and Jeffreys

Maria Triumphans: Henrietta Maria and Richard Dering's Few-Voice Motets

Considering Influence: George Jeffreys, a Case Study

Musical Miscegenation in England, 1625-48: Dering, Jeffreys, and the Stile Nuovo

George Jeffreys: A Pioneer of Italianate Sacred Music in England

Progressive Tendencies in English Sacred Music: The Few-Voice Latin Motets of Richard Dering

Books by Andrew J Cheetham

Reappraising the Seicento: Composition, Dissemination, Assimilation

Book Reviews by Andrew J Cheetham

Review of Ross W. Duffin, The Music Treatises of Thomas Ravenscroft: “Treatise of Practicall Musicke” and A Briefe Discourse

Papers by Andrew J Cheetham

The Baroque Concertato in England, 1625–c.1660 Volume I & II

English concertato music of the seventeenth century has remained a relatively neglected area of m... more English concertato music of the seventeenth century has remained a relatively neglected area of musicological scholarship and has yet to receive the attention it deserves. More specifically, the period between the death of William Byrd (1540–1623) and the rise of Henry Purcell (1659–1695) remains something of a historiographical lacuna and is often disparaged for the decline in English musical standards. It is demonstrated in this dissertation, however, that in certain Royalist and court-related circles English composers were conversant in the stile nuovo and remained absolutely up-to-date with the latest Italian methods of composition. An attempt is made to construct a paradigm of influence that can be used profitably when considering the appropriation and assimilation of the techniques of the stile nuovo by English composers. The first composer to be examined in this dissertation is Richard Dering (1580–1620), who should be considered the progenitor of small-scale concertato music...

Biography, Mythology, and Narrativity in English Music of the Seventeenth Century

Provincial Patronage and ‘Progressive’ Peripheries: Sir Christopher Hatton III and George Jeffreys

Porter’s Psalm Settings and Paradoxes

Conflict and Contradiction in Porter’s Mottets

The Count and the Cavaliers: extreme chromaticism and unconventional harmonies in the music of Gesualdo and Jeffreys

Maria Triumphans: Henrietta Maria and Richard Dering's Few-Voice Motets

Considering Influence: George Jeffreys, a Case Study

Musical Miscegenation in England, 1625-48: Dering, Jeffreys, and the Stile Nuovo

George Jeffreys: A Pioneer of Italianate Sacred Music in England

Progressive Tendencies in English Sacred Music: The Few-Voice Latin Motets of Richard Dering

Reappraising the Seicento: Composition, Dissemination, Assimilation

Review of Ross W. Duffin, The Music Treatises of Thomas Ravenscroft: “Treatise of Practicall Musicke” and A Briefe Discourse

The Baroque Concertato in England, 1625–c.1660 Volume I & II

English concertato music of the seventeenth century has remained a relatively neglected area of m... more English concertato music of the seventeenth century has remained a relatively neglected area of musicological scholarship and has yet to receive the attention it deserves. More specifically, the period between the death of William Byrd (1540–1623) and the rise of Henry Purcell (1659–1695) remains something of a historiographical lacuna and is often disparaged for the decline in English musical standards. It is demonstrated in this dissertation, however, that in certain Royalist and court-related circles English composers were conversant in the stile nuovo and remained absolutely up-to-date with the latest Italian methods of composition. An attempt is made to construct a paradigm of influence that can be used profitably when considering the appropriation and assimilation of the techniques of the stile nuovo by English composers. The first composer to be examined in this dissertation is Richard Dering (1580–1620), who should be considered the progenitor of small-scale concertato music...