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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal

01 Jan 2016-
TL;DR: The Shepherds' Arcadia as mentioned in this paper is a classic story about the Shepherd's Arcadia and the shepherds’ Lament, which is also related to our work.
Abstract: ....................................................................................................................................................... ix Prologue ........................................................................................................................................................ 1 Chapter One: The Shepherds’ Arcadia ....................................................................................................... 27 Chapter Two: The Shepherds’ Queen ......................................................................................................... 97 Chapter Three: The Shepherds’ Lament ................................................................................................... 160 Epilogue .................................................................................................................................................... 225 Bibliography ............................................................................................................................................. 233 Appendix A: Letter from the Institutional Research Board ...................................................................... 248 Appendix B: Supplementary Figures ........................................................................................................ 249

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Marshall University
Marshall Digital Scholar
3eses, Dissertations and Capstones
2016
Rest, Sweet Nymphs: Pastoral Origins of the
English Madrigal
Danielle Van Oort
olson25@marshall.edu
Follow this and additional works at:
h4p://mds.marshall.edu/etd
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Recommended Citation
Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). eses, Dissertations and Capstones. Paper
1016.

REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL
A thesis submitted to
the Graduate College of
Marshall University
In partial fulfillment of
the requirements for the degree of
Master of Arts
in
Music
Music History and Literature
by
Danielle Van Oort
Approved by
Dr. Vicki Stroeher, Committee Chairperson
Dr. Ann Bingham
Dr. Terry Dean, Indiana State University
Marshall University
May 2016

ii
APPROVAL OF THESIS
We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet
Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for
original scholarship and creative work established by the School of Music and Theatre and the
College of Arts and Media. This work also conforms to the editorial standards of our discipline
and the Graduate College of Marshall University. With our signatures, we approve the
manuscript for publication.

iii
ACKNOWLEDGEMENTS
The author would like to express appreciation and gratitude to the faculty and staff of
Marshall University’s School of Music and Theatre for their continued support. In addition, I
wish to thank Dr. Eric Migernier and Nadine Maggard from the Department of Modern
Languages for their assistance in French translations.

iv
DEDICATIONS
I dedicate this thesis to my husband Jeff, as well as to my family, friends, and mentors,
who have all encouraged my educational path thus far. Without your commitment, this project
would not have been possible.

References
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Book
01 May 1983
TL;DR: In this paper, the authors take an historical approach to understand what the various keys meant to composers in different eras and how they were used by composers of the baroque, classical and romantic eras.
Abstract: The concept of key characteristics - the association of a mood or meaning with an individual key - has long been a controversial matter. Taking an historical approach, this book aims to further a better understanding of what the various keys meant to, and how they were used by, composers in different eras. Of particular importance is the discussion of many 'new' sources, adding considerably to knowledge of what the keys meant to the composers of the baroque, classical and romantic eras. RITA STEBLIN gained her doctorate from the University of Illinois at Urbana-Champaign.

98 citations

Journal ArticleDOI
TL;DR: This article argued that the symbolic mediation of social relationships was a central function of Elizabethan pastoral forms; and that social relationships are, intrinsically, relationships of power, and that modern poets have devised pastoral poetry, not of purpose to counterfait or represent the rustical manner of loves and communication: but under the vaile of homely persons, and in rude speeches to insinuate and glaunce at greater matters and such as perchance had not bene safe to $ 6
Abstract: ASTORAL POWER might seem an oxymoronic notion, for pastoral literature is ostensibly a discourse of the powerless in dispraise of power. In his study of Elizabethan poetic kinds, Hallett Smith characterizes the central meaning” of Elizabethan pastorals as “the rejection of the aspiring mind. The shepherd demonstrates that true content is to be found in this renunciation.”* Smith’s perspective on pastoral equates “theme” with “meaning”; my perspective distinguishes “form” from “function.” The repertoire of pastoral forms includes images and metaphors; conventions of person, place, and diction; and distinctive generic features and their combinations. This repertoire was exploited and elaborated by Elizabethan poets and politicians, by sycophants and ideologues, by the Queen herself. My argument is that the symbolic mediation of social relationships was a central function of Elizabethan pastoral forms; and that social relationships are, intrinsically, relationships of power? The Arte of English Poesie, a guide to the practice of courtship and courtly poetry that was dedicated to Queen Elizabeth, claims that modern poets have devised pastoral poetry, not of purpose tocounterfait or represent the rustical manner of loves and communication: but under the vaile of homely persons, and in rude speeches to insinuate and glaunce at greater matters and such as perchance had not bene safe to $ 6

76 citations

Book
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TL;DR: The history of the portraiture is that of the deliberate manufacture of an image powerful enough to hold together a people divided by not only a rigid social hierarchy but also religious belief.
Abstract: To examine the portraits of Elizabeth I is, as Roy Strong shows, to witness the creation of the legend of the Virgin Queen, of Gloriana and her burgeoning empire. The history of the portraiture is that of the deliberate manufacture of an image powerful enough to hold together a people divided by not only a rigid social hierarchy but also religious belief. When Elizabeth came to the throne in 1558 her subjects had a vivid memory of defeat in war and of religious turmoil - the bloody reign of her half-sister Mary had only just ended. The policy of restoring the stability of the kingdom necessarily involved the image of the Queen: over the years she was to be transmuted from an elegant aristocratic lady into a cosmic vision depicted standing on her realm of England or, even more boldly, clasping the whole world in her hand. In view of the uncertainty over the succession her mortality had to be denied: she was therefore presented, in a political act of rejuvenation, as a young woman, even when in her sixties. The successful proliferation of the image may be measured by the love and devotion inspired by a monarch who in the later years of her reign has been described as 'aged, toothless, bald and irascible'. For two decades, from 1580 to 1600, that propaganda machine worked triumphantly, and it was only in the very last years that it began to fail.

76 citations

Book
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66 citations