Whythorne autobiography vs biography

  • I want now to consider
  • Whythorne had a passion for poetry,

    • The Tradition of Autobiography in Music

    Document Type

    Dissertation

    Committee Members

    José Muñoz-Millanes

    Abstract

    A survey of autobiographical writings by composers from the fourteenth century to the present focusing on the question of how composers create a self. Although, the Autobiography of Thomas Whythorne (1528-96) can be considered the earliest autobiography by a composer, the genre also stems from lexicographical practices in eighteenth-century Germany (scholars such as Walther and Mattheson requested autobiographies from composers with the intention to include them in biographical dictionaries of music). In the nineteenth century, Wagner's autobiographies show the composer's concern with providing a solid image of himself through writing. Stravinsky's Autobiography demonstrates the composer's preoccupation for giving an exegesis of his musical compositions. John Cage's diverse autobiographical are examined in the light of Derrida's "metaphysics of presence." Cage privileges noise and silence over organized sound because he considers the former as closer to human interiority than the latter. The possibility of autobiographical music is examined by exploring examples of autobiographical music by Virgil Thomson and Smetana. Schoenberg's painted self-portraits are introduced as a case of a composer creating a self through the visual arts. In conclusion, the study shows that composers use autobiography to control the reception and meaning of their musical works.

    Recommended Citation

    Piza, Antoni, "The Tradition of Autobiography in Music" (1994). CUNY Academic Works.
    https://academicworks.cuny.edu/gc_etds/6070

  • Whythorne's life for the

    • Thomas Whythorne and Tudor musicians

    Nelson, Katie M. (2010) Thomas Whythorne and Tudor musicians. PhD thesis, University of Warwick.

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    Official URL: http://webcat.warwick.ac.uk/record=b2521736~S15

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    Abstract

    The autobiography of Tudor musician Thomas Whythorne (1528-1596) is rich with self-exploration, social commentary and intimate storytelling. His story begins at childhood, then progresses chronologically as he gains an education, becomes a music master, and rubs shoulders with some of the most prominent people in England. This rich historical source has been strangely neglected, particularly by social historians, since its discovery in 1955. No one in any discipline has so far attempted an overall assessment of Whythorne the man, his work, and his significance. This is my aim. Working outwards from a close examination of his unique manuscript (Bodleian MS. Misc.c.330), this study hopes to shed new light on the music profession in early modern England. Whythorne adds considerable clarity of focus to the professionalization of music in the sixteenth century, as seen through the eyes of one of its advocates. Chapter 1 reviews Whythorne’s own life story and compares it with available external evidence. Chapter 2 proceeds to mine the manuscript itself for further evidence of Whythorne’s motives and methodology, offering a number of new hypotheses regarding the dating, content, and structure of the manuscript. Chapters 3 and 4 explore the nature of the Tudor musical profession, proposing and exploring a ‘spherical’ model of the music profession (in place of a hierarchical model). These chapters examine the various ‘spheres’ or types of musicians in turn, comparing Whythorn

    Life writing

    Life writing is an expansive genre that primarily deals with the purposeful recording of personal memories, experiences, opinions, and emotions for different ends. While what actually constitutes life writing has been up for debate throughout history, it has often been defined through the lens of the history of the autobiography genre as well as the concept of the self as it arises in writing. Framed by these two concepts, life writing as a genre has emerged to include many other subgenres including, but not limited to, the biography, memoir, diary, letter, testimony, and personal essay.

    David McCooey highlights the interplay between literary and empirical writing. McCooey emphasizes the distinction between narrative as a literary tool and narrative as a lived experience. By viewing life writing as a practice rather than a discipline, McCooey points out its perpetual preoccupations with several boundaries. These boundaries include the division between the self and others, the limits of remembering and forgetting, etc.

    Life writing has functioned as a generic outlet for individuals to assess their personal diverse needs throughout history. In addition, David McCooey argues that the genre of life writing shares a similar quality to history, as both engage in an ongoing discussion that fosters an understanding of their overall significance within the broader scope of literary expression. It has served as a mode for the exploration of identity through critical self-reflection, allowing an individual to consider the internal, external, and temporal forces shaping their complex social identity. Likewise, the supergenre of life writing has permitted an individual to personally decide how they want to present themselves, whether that be to others within their social groups or simply to themselves as a way of imagining their ideal selves.[1]

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