In many ways the history of British light music knits together the
social and economic history of the country with that of its general
musical heritage. Numerous 'serious' composers from Elgar to
Britten composed light music, and the genre adapted itself to
incorporate the changing fashions heralded by the rise and fall of
music hall, the drawing room ballad, ragtime, jazz and the revue.
From the 1950s the recording and broadcasting industries provided a
new home for light music as an accompaniment to radio programmes
and films. Geoffrey Self deftly handles a wealth of information to
illustrate the immense role that light music has played in British
culture over the last 130 years. His insightful assessments of the
best and the most shameful examples of the genre help to pinpoint
its enduring qualities; qualities which enable it to maintain a
presence in the face of today's domination by commercial popular
music.
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