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STO. NIÑO PARISH OF BULA: A HISTORICAL NARRATIVE
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2017
(Une traduction française suit) This dissertation is the first in-depth exploration of the connections between the Choir of King’s College, Cambridge (“King’s”) and the early music revival since the mid-twentieth century. It is also one of the first detailed considerations of the role of choirs in the revival. The central question I aim to answer is: How has the vocal style of King’s influenced the development of the vocal style of the early music revival in Britain? I show how the choir’s 109 albums featuring music written before 1750 have helped spread and popularize what I call the “King’s sound.” This sound is characterized by a high level of blend within choral sections, an even balancing of sections with one another, little vibrato, few changes in tempo and dynamics, and a light, bright, and breathy timbre. It is similar to a broader “English sound” found among other Oxbridge college choirs as well as British vocal ensembles specializing in early music. I argue that King’s was an important precursor to these specialist early music ensembles, as the choir began issuing many albums in the 1950s, before a large number of specialist groups formed in the 1970s and 1980s. King’s was also compatible with and helped bolster the valuing of historical authenticity in the early music revival. Because the choir has sung frequently in church services since its foundation in the fifteenth century, listeners can see King’s as exemplifying longstanding English sacred traditions. In addition, the King’s sound itself seems more historically sensitive for early music than a singing style with hallmarks of nineteenth-century performance practice, such as heavy vibrato and frequent or large changes in tempo and dynamics. I also argue that the close links between King’s and powerful and wealthy British institutions—particularly the University of Cambridge and the Church of England—aided in spreading the King’s sound. In addition, the all-male and mostly Caucasian composition of the choir allows listeners to see it as a remnant of Britain before twentieth-century feminist movements and modern waves of immigration. This reinforces the choir’s sense of historical authenticity as well as its appeal given the hegemonic status of whiteness and masculinity. I also suggest that the King’s sound itself reflects the relatively homogeneous identity of choir members by way of its exclusion of “other” sounds (and bodies) in favor of choral blend. To conclude, I examine how King’s has influenced the early music revival by training performers, by making premiere recordings of Renaissance and Baroque compositions, and by collaborating with instrumental ensembles. I also consider how other ensembles and trends in the revival have influenced King’s, particularly the rise of historically informed performance. « La musique ancienne et le Chœur du King’s College, Cambridge, 1958 à 2015 » Cette thèse est la première exploration en profondeur des liens existant entre le Chœur du King’s College, Cambridge (« King’s ») et le mouvement pour le renouveau de la musique ancienne depuis le milieu du XXe siècle. C’est également l’une des premières considérations du rôle des chœurs au sein de ce renouveau. La question centrale à laquelle je tenterai de répondre est la suivante : comment le style vocal du King’s a-t-il influencé le développement du style vocal du renouveau de la musique ancienne en Grande-Bretagne ? Je démontre comment les 109 albums du chœur sur lesquels l’on retrouve de la musique composée avant 1750 ont aidé à disséminer et populariser ce que j’appelle le « King’s sound » (le « son King’s »). Ce son se caractérise par un haut degré de fondu choral (« blend »), un équilibre uniforme des sections chorales entre elles, peu de vibrato, peu de changements de tempo et de dynamiques, ainsi qu’un timbre sonore qui est léger, brillant et aéré. Il est semblable au « English sound » (« son anglais ») que l’on retrouve parmi d’autres chœurs des collèges d’Oxbridge ainsi que des chœurs britanniques se spécialisant dans la musique ancienne. Je démontre que King’s fut un précurseur important de ces ensembles spécialisés parce que le chœur ayant commencé à produire des albums dès les années 1950, avant la formation de nombreux groupes spécialisés de musique ancienne dans les années 1970 et 1980. King’s était également compatible avec, et contribua à fortifier, la valorisation de l’authenticité historique au sein du renouveau de la musique ancienne. Puisque le chœur a fréquemment chanté dans des services religieux depuis sa fondation au XVe siècle, les auditeurs peuvent percevoir King’s comme illustrant des traditions sacrées anglaises très anciennes. En outre, le son King’s lui-même apparaissait plus historiquement sensible pour la musique ancienne qu’un style vocal qui a des caractéristiques rappelant les pratiques d’interprétation du XIXe siècle, telles qu’un fort vibrato et des changements fréquents ou prononcés de tempi et dynamiques. Je propose également que les liens étroits entre King’s et des institutions britanniques puissantes et riches– particulièrement l’Université de Cambridge et l’Église d’Angleterre – ont contribué à la dissémination du son King’s. De plus, la composition entièrement masculine et principalement caucasienne du chœur permet aux auditeurs de le percevoir comme un vestige de la Grande-Bretagne avant les mouvements féministes du XXe siècle et les vagues d’immigrations contemporaines. Ceci renforce le sentiment d’authenticité historique du chœur ainsi que son attrait, étant donné le statut hégémonique de la race blanche et de la masculinité. Je suggère aussi que le son King’s lui-même reflète l’identité relativement homogène des membres du chœur par son exclusion des sons alternatifs (et de différent types de personnes) en faveur d’une homogénéité chorale. En conclusion, j’examine de quelle manière King’s a influencé le renouveau de la musique ancienne grâce à la formation d’interprètes, par l’enregistrement d’œuvres de la Renaissance et de la période baroque qui n’a jamais été enregistré auparavant, et par la collaboration avec des ensembles instrumentaux. Je m’intéresse également à la manière dont d’autres ensembles et tendances au cours de ce renouveau ont influencé King’s, particulièrement l’essor d’interprétations historiques. (Traduction par Claudine Jacques)