ABSTRACT For most of his career as the inaugural head of the Oxford University Press Music Department, Hubert Foss was a key figure in music publishing and had been central to the cultivation, politicization, and dissemination of English music. After leaving that profession in 1941, Foss occupied a more ancillary position in the development of music as a broadcaster and writer, and as a result, intended for his thoughts to contribute to musical debate, rather than dictate it. When he published the first full-length study of Vaughan Williams’s life and works in 1950, it fueled a recurring debate between two camps in British music studies: one that viewed Vaughan Williams as a thoroughly conservative and traditional composer, and the other that advocated for an appreciation of the composer’s contribution to the emergence of modernism in British music of the 1920s and 1930s. Serving the agenda of both camps, Foss is an example of a biographer presenting two vastly contrasting images of a single composer.

中文翻译：

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传记修正主义：休伯特·福斯对沃恩·威廉姆斯的矛盾描绘

摘要 在作为牛津大学出版社音乐系首任负责人的大部分职业生涯中，休伯特·福斯是音乐出版界的关键人物，并且一直是英国音乐的培育、政治化和传播的核心。1941 年离开该行业后，作为广播员和作家，福斯在音乐发展中占据了一个更辅助的位置，因此，他打算让自己的思想为音乐辩论做出贡献，而不是支配它。1950 年，当他发表第一篇关于沃恩·威廉姆斯 (Vaughan Williams) 生平和作品的完整研究时，它引发了英国音乐研究中两个阵营之间反复出现的争论：一个将沃恩·威廉姆斯 (Vaughan Williams) 视为彻底保守和传统的作曲家，另一个主张欣赏作曲家对 1920 年代和 1930 年代英国音乐中现代主义出现的贡献。福斯为两个阵营的议程服务，是一个传记作者的例子，他展示了一个作曲家的两个截然不同的形象。