Benedict Taylor
Biographic Data
| ID | 3593864 |
|---|---|
| NAME | Benedict Taylor |
| GIVEN NAMES | Benedict |
| FAMILY NAME | Taylor |
| SIGNATURE | TAYLOR B |
| AFFILIATIONS | University of Edinburgh |
| ORCID | 0000-0002-2184-0485 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 14 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
A Sweeter Music
Edward Elgar's 1907 part‐song ‘There Is Sweet Music’ (Op. 53 No. 1) is at once a ‘minor’ piece and a highly significant one that richly rewards investigation. It is notable as an early instance of bitonality, being notated simultaneously in two keys – the male choir in G major and the female choir in A♭. Yet despite the apparent discordance of the two semitonally adjacent keys, the result is remarkably mellow – indeed ‘sweet’, aptly realising the…
Vaughan Williams in Context
The Mendelssohn of the Eighteenth Century
This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music. Most conspicuous of these features is the role taken by the key of F♯ minor, iii of the tonic, which assumes increasing prominence over the course of the exposition, culminating i…
Singing Like Germans
Hensel
The Cambridge Companion to Music and Romanticism
This Companion presents a new understanding of the relationship between music and culture in and around the nineteenth century, and encourages readers to explore what Romanticism in music might mean today. Challenging the view that musical 'romanticism' is confined to a particular style or period, it reveals instead the multiple intersections between the phenomenon of Romanticism and music. Drawing on a variety of disciplinary approaches, and ref…
Cambridge Companion to Music and Romanticism
Formal Jests
One of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking delight in confounding expectations in the movement's formal twists and turns, as if this ambiguous and ever-shifting relation were itself a crucial part of the aesthetic quality of the music. The present article ex…
Nicole Grimes, Brahms's Elegies
A review of Nicole Grimes, Brahms's Elegies: The Poetics of Loss in Nineteenth-Century German Culture (Cambridge: Cambridge University Press, 2019). ISBN: 9781108589758
‘Ein sonderbar’ Ding’
Der Rosenkavalier is an opera that foregrounds time: the problem of time, as transience, passing and ultimately death for the aging Marschallin, and a potentially more redemptive quality, the category of the Augenblick associated with the young lovers Octavian and Sophie, in which the temporal intersects with the eternal. It is also a work that has traditionally marked the turning point in Strauss's relation to historical time and the idea of mus…
Landscape-Rhythm-Memory
George Enescu (1881–1955) falls askance customary narratives of twentieth-century music. Belonging to a lost generation situated between the late-Romantic modernism of Strauss and Mahler and the radical modernism of Schoenberg and Stravinsky, familiar historiographic notions find little hold on his music. The present article seeks to establish more pertinent aesthetic categories for understanding Enescu by proposing that his music is characterize…
The Melody of Time
Music has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. This book explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.
Mutual Deformity
While neither the music of Ignaz Moscheles nor that of William Sterndale Bennett feature in the modern repertoire, the piano concertos of both composers form part of a significant body of works from the early nineteenth century that offer models at variance with conventional accounts of the concerto genre. The opening movements of Moscheles's Concerto No. 7 in C minor ( Concerto pathétique , 1835–6) and Bennett's Concerto No. 4 in F minor (1838) …
Schubert and the Construction of Memory
As well over a century of reception history attests, qualities of memory, reminiscence and nostalgia seem to constitute some of the most characteristic attributes of Schubert's music. Yet despite the undoubted allure of this subject and its popularity in recent years, the means by which music may suggest the actions of memory and temporal consciousness are often unclear or under-theorized in scholarship. This article examines how such nostalgic s…
Trees of Gold and Men Made Good? Grand Visions and Early Experiments in Penal Forestry in New South Wales, 1913-1938
While modern penal institutions exist, putatively, to transform the people held within them into law-abiding citizens, it is not generally recognised that since the early twentieth century, Australian and New Zealand penal systems have also sought to transform 'wastelands' into ordered, productive landscapes. In Australia, this experiment began in 1913 on the north coast of New South Wales, where small groups of prisoners were set to work creatin…
The Mendelssohn of the Eighteenth Century
This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music. Most conspicuous of these features is the role taken by the key of F♯ minor, iii of the tonic, which assumes increasing prominence over the course of the exposition, culminating i…
Formal Jests
One of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking delight in confounding expectations in the movement's formal twists and turns, as if this ambiguous and ever-shifting relation were itself a crucial part of the aesthetic quality of the music. The present article ex…
Landscape-Rhythm-Memory
George Enescu (1881–1955) falls askance customary narratives of twentieth-century music. Belonging to a lost generation situated between the late-Romantic modernism of Strauss and Mahler and the radical modernism of Schoenberg and Stravinsky, familiar historiographic notions find little hold on his music. The present article seeks to establish more pertinent aesthetic categories for understanding Enescu by proposing that his music is characterize…
Trees of Gold and Men Made Good? Grand Visions and Early Experiments in Penal Forestry in New South Wales, 1913-1938
While modern penal institutions exist, putatively, to transform the people held within them into law-abiding citizens, it is not generally recognised that since the early twentieth century, Australian and New Zealand penal systems have also sought to transform 'wastelands' into ordered, productive landscapes. In Australia, this experiment began in 1913 on the north coast of New South Wales, where small groups of prisoners were set to work creatin…
Schubert and the Construction of Memory
As well over a century of reception history attests, qualities of memory, reminiscence and nostalgia seem to constitute some of the most characteristic attributes of Schubert's music. Yet despite the undoubted allure of this subject and its popularity in recent years, the means by which music may suggest the actions of memory and temporal consciousness are often unclear or under-theorized in scholarship. This article examines how such nostalgic s…
The Melody of Time
Music has been seen since the Romantic era as the quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. This book explores the multiple ways in which music may provide insight into the problematics of time, spanning the dynamic century between Beethoven and Elgar.
Mutual Deformity
While neither the music of Ignaz Moscheles nor that of William Sterndale Bennett feature in the modern repertoire, the piano concertos of both composers form part of a significant body of works from the early nineteenth century that offer models at variance with conventional accounts of the concerto genre. The opening movements of Moscheles's Concerto No. 7 in C minor ( Concerto pathétique , 1835–6) and Bennett's Concerto No. 4 in F minor (1838) …
Landscape-Rhythm-Memory
George Enescu (1881–1955) falls askance customary narratives of twentieth-century music. Belonging to a lost generation situated between the late-Romantic modernism of Strauss and Mahler and the radical modernism of Schoenberg and Stravinsky, familiar historiographic notions find little hold on his music. The present article seeks to establish more pertinent aesthetic categories for understanding Enescu by proposing that his music is characterize…
Nicole Grimes, Brahms's Elegies
A review of Nicole Grimes, Brahms's Elegies: The Poetics of Loss in Nineteenth-Century German Culture (Cambridge: Cambridge University Press, 2019). ISBN: 9781108589758
‘Ein sonderbar’ Ding’
Der Rosenkavalier is an opera that foregrounds time: the problem of time, as transience, passing and ultimately death for the aging Marschallin, and a potentially more redemptive quality, the category of the Augenblick associated with the young lovers Octavian and Sophie, in which the temporal intersects with the eternal. It is also a work that has traditionally marked the turning point in Strauss's relation to historical time and the idea of mus…
The Cambridge Companion to Music and Romanticism
This Companion presents a new understanding of the relationship between music and culture in and around the nineteenth century, and encourages readers to explore what Romanticism in music might mean today. Challenging the view that musical 'romanticism' is confined to a particular style or period, it reveals instead the multiple intersections between the phenomenon of Romanticism and music. Drawing on a variety of disciplinary approaches, and ref…
Cambridge Companion to Music and Romanticism
Formal Jests
One of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking delight in confounding expectations in the movement's formal twists and turns, as if this ambiguous and ever-shifting relation were itself a crucial part of the aesthetic quality of the music. The present article ex…
Hensel
Vaughan Williams in Context
The Mendelssohn of the Eighteenth Century
This article examines the elaborate compositional processes at work in the opening movement of Mendelssohn's Quartet in D major, Op. 44 No. 1 (1838) in the service of advancing and further refining the application of contemporary Formenlehre to nineteenth‐century music. Most conspicuous of these features is the role taken by the key of F♯ minor, iii of the tonic, which assumes increasing prominence over the course of the exposition, culminating i…
Singing Like Germans
A Sweeter Music
Edward Elgar's 1907 part‐song ‘There Is Sweet Music’ (Op. 53 No. 1) is at once a ‘minor’ piece and a highly significant one that richly rewards investigation. It is notable as an early instance of bitonality, being notated simultaneously in two keys – the male choir in G major and the female choir in A♭. Yet despite the apparent discordance of the two semitonally adjacent keys, the result is remarkably mellow – indeed ‘sweet’, aptly realising the…
Art (12 works) · Musicology and Musical Analysis (11 works) · Aesthetics (9 works) · Literature (9 works) · Art history (5 works) · History (5 works) · Philosophy (5 works) · Computer Science (4 works) · Music History and Culture (4 works) · Archaeology (3 works)