Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669

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dc.contributor.advisorSandmeier, Rebekkaen_ZA
dc.contributor.authorLubbe, Michelle Hesteren_ZA
dc.date.accessioned2015-09-25T07:35:38Z
dc.date.available2015-09-25T07:35:38Z
dc.date.issued2013en_ZA
dc.description.abstractSamuel Pepys (1633-1703) was a late seventeenth-century diarist with a deep love of music, which he often compared to his love of women, as expressed in the previous quotation. Even though this quotation specifically refers to wind music, it also directly expresses Pepys' love of music as a whole. His diary stretches over a period of approximately nine years, 1660 until 1669. Among the discussions on a number of topics, in his diary Pepys expresses his views on music in various forms and from a range of perspectives. In this study Pepys' views on music from the point of view of a listener or audience member will be illustrated. The nature of Pepys' views on music and his reception thereof can be said to be ahead of his time. 'Theories of reception move historical enquiry away from questions of production and composition and towards issues related to response, audience, and what Carl Dahlhaus, following Walter Benjamin, called the 'after-life' of musical works.' The 'after-life' of a musical work is described by Mark Everist as a feeling that is evoked by the experience of it. This feeling that one gets during and after listening to a musical work could be seen as reception of the work. However, the term 'reception' is more readily referred to as critical responses to music in the form of public reviews that appear in written sources such as books, journals, newspapers, letters and diaries. Albert Roussel, a musician and French composer, believes that music is a language that composers and performers use to communicate with an audience. Music brings an audience to a deeper understanding, one that cannot be expressed in words, only felt, as Felix Mendelssohn states: '[Music] fills the soul with a thousand things better than words. The thoughts that are expressed to me by music I love are not too indefinite to put into words, but on the contrary, too definite.' It is necessary to address music reception from the audience's perspective because Samuel Pepys was a 17th century music lover and formed part of the audience at the time. He emphatically expressed his overwhelming love of music in his diary. The audiences are there to listen and experience, which is the inspiration behind this study.en_ZA
dc.identifier.apacitationLubbe, M. H. (2013). <i>Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,College of Music. Retrieved from http://hdl.handle.net/11427/14088en_ZA
dc.identifier.chicagocitationLubbe, Michelle Hester. <i>"Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669."</i> Thesis., University of Cape Town ,Faculty of Humanities ,College of Music, 2013. http://hdl.handle.net/11427/14088en_ZA
dc.identifier.citationLubbe, M. 2013. Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Lubbe, Michelle Hester AB - Samuel Pepys (1633-1703) was a late seventeenth-century diarist with a deep love of music, which he often compared to his love of women, as expressed in the previous quotation. Even though this quotation specifically refers to wind music, it also directly expresses Pepys' love of music as a whole. His diary stretches over a period of approximately nine years, 1660 until 1669. Among the discussions on a number of topics, in his diary Pepys expresses his views on music in various forms and from a range of perspectives. In this study Pepys' views on music from the point of view of a listener or audience member will be illustrated. The nature of Pepys' views on music and his reception thereof can be said to be ahead of his time. 'Theories of reception move historical enquiry away from questions of production and composition and towards issues related to response, audience, and what Carl Dahlhaus, following Walter Benjamin, called the 'after-life' of musical works.' The 'after-life' of a musical work is described by Mark Everist as a feeling that is evoked by the experience of it. This feeling that one gets during and after listening to a musical work could be seen as reception of the work. However, the term 'reception' is more readily referred to as critical responses to music in the form of public reviews that appear in written sources such as books, journals, newspapers, letters and diaries. Albert Roussel, a musician and French composer, believes that music is a language that composers and performers use to communicate with an audience. Music brings an audience to a deeper understanding, one that cannot be expressed in words, only felt, as Felix Mendelssohn states: '[Music] fills the soul with a thousand things better than words. The thoughts that are expressed to me by music I love are not too indefinite to put into words, but on the contrary, too definite.' It is necessary to address music reception from the audience's perspective because Samuel Pepys was a 17th century music lover and formed part of the audience at the time. He emphatically expressed his overwhelming love of music in his diary. The audiences are there to listen and experience, which is the inspiration behind this study. DA - 2013 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2013 T1 - Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669 TI - Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669 UR - http://hdl.handle.net/11427/14088 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/14088
dc.identifier.vancouvercitationLubbe MH. Samuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669. [Thesis]. University of Cape Town ,Faculty of Humanities ,College of Music, 2013 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/14088en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentCollege of Musicen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherMusicen_ZA
dc.titleSamuel Pepys' reception and perception of vocal music in seventeenth-century England : an analysis of selected diary entries from 1660 until 1669en_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMMusen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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