By Janet Evanovich, Ina Yalof
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Extra resources for How I Write: Secrets of a Bestselling Author
But there were other models on hand, in particular a set of literary and theatrical discourses in which music played a powerful role. He could look to the verse drama movement with its appeal to ritual and the sacred past; the documentary movement with its sociological attention to the texture and particularity of English life; and the interest in public occasion and state ceremony that developed as a response to fascist display, inﬂuencing the Arts Council’s concept of public art and manifesting in the events and festivals discussed in the following chapters.
These were years, in other words, of intense contact with English literary, religious, and musical tradition, including both elements fairly new to the twentieth-century musical scene – especially Purcell – and the traditions of folksong and church music that had fed English music in the interwar years. Along with these signs of engagement with the English musical past came a commitment to the idea of an English musical culture, one that was connected with real audiences, rooted in ideals of community and traditional public practices, and integrated with everyday life.
Brett, Music and Sexuality, 219. Brett’s description of this turn is on pp. 213–220. This description draws on and reﬁnes an earlier discussion of Britten’s engagement with folksong and Purcell (154–171). For another discussion of Britten’s combative relationship with the pastoral school, which inﬂuences Brett’s, see Arnold Whittall, “The Signs of Genre: Britten’s Version of the Pastoral,” in Sundry Sorts of Music Books: Essays on the British Library Music Collections, Presented to O. W. Neighbour on His Seventieth Birthday, ed.