Innovation and Conservation
– Classical Music of the UK

It is known that Classical music is the common culture shared by European countries. However, Classical music of the UK has more differences rather than similarities in the development and style. Here I generalize its feature as “Innovation and Conservation” and I will use this concept to view and analyse it.

1  the Setup of “Innovation and Conservation”

The setup of “Innovation and Conservation” can be traced back to the Middle Ages. The main expressions of British music from the Middle Ages to the late 17th century can be summed up as follows:

1. the use of “dissonances”

   In the Middle Ages, musicologists in the European continent considered that consonant intervals were the intervals that can be represented by simple radio in mathematics, like quits (intervals of the fifth) and octaves (intervals of the eighth). Chords like triads and six-chords were regarded as “dissonances” and thus seldom used. However, when we listen to the British music of that time, whether secular music like canon <<summer is icumenin>> or John Dunstable’s religious music, we find that such “dissonances” chords are widely used and surprisingly have consonant effects. Since musicians in other parts of Europe rarely break through the barrier of “dissonances” in musical theory until the coming of Modernism, the use of “dissonances” in British music is a great innovation, for it expands the elements of music and change people’s concept of how music should be composed.

2. the devotion to the local fork music

   Before the appearance of famous musicians like John Dunstable and Henry Purcell, British music is mostly distinguished by its local fork music. Besides, British musicians are so devoted to fork music that it forms a kind of tradition. When foreign music comes, they used their tradition to resist its influence. For example, Pepush’s <<the Beggar’s Opera>> satirized the Italian opera and lead to the failure of Handel’s later operas. However, such conservation doesn’t mean that the British music is exclusive. Instead, it makes great contribution to the combination of British folk music and foreign music. For example, Dunstable recreated polyphonic music by forming a composition of technique of “faburden” and the unique “contenance angloise”. Purcell absorbed the Italian opera and set up the style of British opera, which leads to the famous “ballad opera”. So we can see that the “conservation” of British Classical music is indeed another kind of “innovation”.

   Why their music has such unique character of “Innovation and Conservation” while the other parts of Europe do not? Why does such an unique “Innovation and Conservation” root in the British music? I think two factors lead to the setup of “Innovation and Conservation”:

   • Geographical reason: The geographical position separate the UK from the European continent, which makes music from the European continent difficult to spread to the UK, not to mention having a great influence. So British people are more likely to stick to their own musical style and develop it according to their preferences.

   • Historical reason: In history, Romans, the Angle-Saxons, the Vikings, the Normans and other peoples have invaded the British, thus making the British culture a mixture of these peoples’ cultures. So the folk music of the UK also has various styles. It is multicultural elements and various styles of folk music that give the British musicians creative inspiration.

2  the Decline of “Innovation and Conservation”

After the death of Purcell, British music has met decadence. During nearly two centuries, there have been quite few distinguished native British composers, and the British music has failed to hold its appeal.

The reasons for the decadence of British music vary from many aspects. And I think the development can also be explained by the decline of the “Innovation and Conservation”.

1. In this period, many genres of Classical music such as Classicism and Romanticism have been developing rapidly in other parts of Europe, while British musicians have made little contribution to their development. Nor has any unique British music style been created. The loss of innovation results in the poor development of the British music.
2. At the same time, foreign music is more popular than British local music in Britain. The musical life of the British people was mostly influenced by foreign music from Germany and Italy.

Why did British music has such decline of “Innovation and Conservation”? In accordance with the history, I regard the following factors as main reasons:

• Between the late 17th century and the late 19th century, due to the development of transportation, the influence of geographical separation was much less and foreign music was more easily flowed into the Britain. A persuasive example is that many foreign musicians at that time, like Haydn, Weber and Mendelssohn, have visited the Britain and even premiered their musical works there.
• The living conditions of British musicians were poor. At that time, the life of the British people was greatly influenced by Puritanism. Some Puritans even became the ruder of England like Olive Cromwell. Since Puritans oppose luxury and emphasize simple way of life, artistic activities like composing music are discouraged. So the status of musicians in the society declined. In addition, musicians could not hold their positions in churches, which made their life tougher.

3  the Renaissance of “Innovation and Conservation”

The success of Edward Elgar’s musical works has declared the end of the decadence of British music. After that, many other British musical masters, like Ralph Vaughan Williams, Benjamin Britten, Gustav Dheodore Holst, Frederick Delious, Samuel Coledridge Taylor and etc., have shown their talents, thus making the renaissance of British Classical music.

I think such renaissance is also the renaissance of “Innovation and Conservation” and there are mainly three expressions:

1. The styles of music have become widely varied. British musicians have composed music in different genres of Classical music like Impressionism and Neoclassicisms. Even some musical works’ styles are so unique that people cannot decide which genre of music they belong to. Appropriate examples are Kaikhosru Shapurji Sorabji’s very long and complicated works.
2. Foreign subjects and tunes are creatively used. For example, Taylor’s successful work <<the Song of Hiawatha>> uses the story of the American-Indian hero Hiawatha as its theme and uses many elements of American-Indian folk music, thus creating an unique sound effects.
3. The British musical traditions are highly valued. Unlike musicians in other parts of Europe, British musicians attached the same importance on the traditions as the modern music. They explored the elements of music in the great works of the British musical masters and thus created a kind of unique musical works. Britten’s work <<the Young Person’s Guide to the Orchestra>> creatively used a theme of Purcell’s music. In addition, the devotion to local folk music of British musicians returns. Quite a number of British composers collect folksongs and become a member of the Folk-Song Society. William’s <<Symphony No.2 (a London Symphony)>>, Britten’s <<Suite on English Folk Tunes>>, Delius’ <<Brigg Fair>> are all fine representatives of folk music.

From my perspective, there are three factors that contribute to the renaissance of “Innovation and Conservation” of British Classical music:

• The establishment and expansion of the British Empire has combined many parts of the world, which leads to frequent cultural exchanges. Therefore, British musicians have had much more opportunity to have a deeper understanding of foreign cultures. Some of them, like Sorabji and Taylor, are even of foreign descent, and their multicultural experience helps a lot in their creative musical works.
• Since the UK becomes one of the strongest countries in the world, the British people are becoming more open-minded. So it is not surprising that the British musicians are tended to absorb foreign culture on their own initiative. For example, Holst habe studied Sanskrit and Indian philosophy, and his work <<Hymns from the RigVeda>> (RigVeda belongs to the Indian classics Vedas) is an innovative use of Indian elements.
• The high international status of the UK boosts a strong scene of national identity of the British people. This leads to the devotion to the British musical traditions of the local musicians.

4  Conclusion

“Innovation” and “Conservation” are two necessary components of the British Classical music, whether now or then. And these two components seem to contradict each other, but it is the conflict and merging of them that reveal the reserved character of the British people and their great creativity.

References

[1]

Peter S Hansen. An introduction to twentieth century music. Allyn and Bacon, 1961.

[2]

Stanley Sadie and Alison Latham. The Cambridge music guide. Cambridge University Press, 1990.

This document was translated from L^AT_EX by H^EV^EA.