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This set of four volumes draws together extended material from
across the topics of music in Britain in the long nineteenth
century, particularly focussing on documents not readily accessible
or not commonly quoted in the literature. Together they will form
an important resource for students and scholars of music and
culture. The general introduction explores the state of research
into music in nineteenth-century Britain from a historiographical
perspective, as well as an assessment of the most pressing themes
for the immediate future of the discipline. Introductions to each
thematic section briefly review the relevant literature and the
most important points of concern, while a short preface to each
document points out particular points of note, context, and
explanations of any unusual phrases. Each sub-topic includes four
or five documents drawn from newspapers, journals, pamphlets and,
where possible, archival material. Documents will span the full
length of the nineteenth century and a significant number will be
drawn from the writings of Scottish, Welsh and Irish authors.
This volume of primary source material examines music and society
in Britian during the ninteenth century. Sources explore religion,
politics, class, and gender. The collection of materials are
accompanied by an introduction by Rosemary Golding, as well as
headnotes contextualising the pieces. This collection will be of
great value to students and scholars.
This volume of primary source material examines the organisation of
music in Britian during the ninteenth century. Sources explore
music careers and professions, music societies, festivals and
concerts, and popular music. The collection of materials are
accompanied by an introduction by Rosemary Golding, as well as
headnotes contextualising the pieces. This collection will be of
great value to students and scholars.
This volume of primary source material examine the thoughts and
ideas behind music in Britian during the ninteenth century. Sources
explore music critics, listening to music, music education, and
philosophy. The collection of materials are accompanied by an
introduction by Rosemary Golding, as well as headnotes
contextualising the pieces. This collection will be of great value
to students and scholars.
This volume of primary source material examines music and British
national identity during the ninteenth century. Sources explore the
reception of British music, continental and other foreign music,
English, Scottish, Welsh and Irish music, and Empire. The
collection of materials are accompanied by an introduction by
Rosemary Golding, as well as headnotes contextualising the pieces.
This collection will be of great value to students and scholars.
Professionalisation was a key feature of the changing nature of
work and society in the nineteenth century, with formal
accreditation, registration and organisation becoming increasingly
common. Trades and occupations sought protection and improved
status via alignment with the professions: an attempt to impose
order and standards amid rapid social change, urbanisation and
technological development. The structures and expectations
governing the music profession were no exception, and were central
to changing perceptions of musicians and music itself during the
long nineteenth century. The central themes of status and identity
run throughout this book, charting ways in which the music
profession engaged with its place in society. Contributors
investigate the ways in which musicians viewed their own
identities, public perceptions of the working musician, the
statuses of different sectors of the profession and attempts to
manipulate both status and identity. Ten chapters examine a range
of sectors of the music profession, from publishers and performers
to teachers and military musicians, and overall themes include
class, gender and formal accreditation. The chapters demonstrate
the wide range of sectors within the music profession, the
different ways in which these took on status and identity, and the
unique position of professional musicians both to adopt and to
challenge social norms.
Until the nineteenth century, music occupied a marginal place in
British universities. Degrees were awarded by Oxford and Cambridge,
but students (and often professors) were not resident, and there
were few formal lectures. It was not until a benefaction initiated
the creation of a professorship of music at the University of
Edinburgh, in the early nineteenth century, that the idea of music
as a university discipline commanded serious consideration. The
debates that ensued considered not only music's identity as art and
science, but also the broader function of the university within
education and society. Rosemary Golding traces the responses of
some of the key players in musical and academic culture to the
problems surrounding the establishment of music as an academic
discipline. The focus is on four universities: Edinburgh, Oxford,
Cambridge and London. The different institutional contexts, and the
approaches taken to music in each university, showcase the various
issues surrounding music's academic identity, as well as wider
problems of status and professionalism. In examining the way music
challenged conceptions of education and professional identity in
the nineteenth century, the book also sheds light on the way the
academic study of music continues to challenge modern approaches to
music and university education.
Until the nineteenth century, music occupied a marginal place in
British universities. Degrees were awarded by Oxford and Cambridge,
but students (and often professors) were not resident, and there
were few formal lectures. It was not until a benefaction initiated
the creation of a professorship of music at the University of
Edinburgh, in the early nineteenth century, that the idea of music
as a university discipline commanded serious consideration. The
debates that ensued considered not only music's identity as art and
science, but also the broader function of the university within
education and society. Rosemary Golding traces the responses of
some of the key players in musical and academic culture to the
problems surrounding the establishment of music as an academic
discipline. The focus is on four universities: Edinburgh, Oxford,
Cambridge and London. The different institutional contexts, and the
approaches taken to music in each university, showcase the various
issues surrounding music's academic identity, as well as wider
problems of status and professionalism. In examining the way music
challenged conceptions of education and professional identity in
the nineteenth century, the book also sheds light on the way the
academic study of music continues to challenge modern approaches to
music and university education.
Professionalisation was a key feature of the changing nature of
work and society in the nineteenth century, with formal
accreditation, registration and organisation becoming increasingly
common. Trades and occupations sought protection and improved
status via alignment with the professions: an attempt to impose
order and standards amid rapid social change, urbanisation and
technological development. The structures and expectations
governing the music profession were no exception, and were central
to changing perceptions of musicians and music itself during the
long nineteenth century. The central themes of status and identity
run throughout this book, charting ways in which the music
profession engaged with its place in society. Contributors
investigate the ways in which musicians viewed their own
identities, public perceptions of the working musician, the
statuses of different sectors of the profession and attempts to
manipulate both status and identity. Ten chapters examine a range
of sectors of the music profession, from publishers and performers
to teachers and military musicians, and overall themes include
class, gender and formal accreditation. The chapters demonstrate
the wide range of sectors within the music profession, the
different ways in which these took on status and identity, and the
unique position of professional musicians both to adopt and to
challenge social norms.
This book traces the role played by music within asylums, the
participation of staff and patients in musical activity, and the
links drawn between music, health, and wellbeing. In the first part
of the book, the author draws on a wide range of sources to
investigate the debates around moral management, entertainment, and
music for patients, as well as the wider context of music and
mental health. In the second part, a series of case studies bring
to life the characters and contexts involved in asylum music,
selected from a range of public and private institutions. From
asylum bands to chapel choirs, smoking concerts to orchestras, the
rich variety of musical activity presents new perspectives on music
in everyday life. Aspects such as employment practices, musicians'
networks and the purchase and maintenance of musical instruments
illuminate the 'business' of music as part of moral management. As
a source of entertainment and occupation, a means of solace and
self-control, and as a device for social gatherings and contact
with the outside world, the place of music in the asylum offers
valuable insight into its uses and meanings in nineteenth-century
England.
This book traces the role played by music within asylums, the
participation of staff and patients in musical activity, and the
links drawn between music, health, and wellbeing. In the first part
of the book, the author draws on a wide range of sources to
investigate the debates around moral management, entertainment, and
music for patients, as well as the wider context of music and
mental health. In the second part, a series of case studies bring
to life the characters and contexts involved in asylum music,
selected from a range of public and private institutions. From
asylum bands to chapel choirs, smoking concerts to orchestras, the
rich variety of musical activity presents new perspectives on music
in everyday life. Aspects such as employment practices, musicians'
networks and the purchase and maintenance of musical instruments
illuminate the 'business' of music as part of moral management. As
a source of entertainment and occupation, a means of solace and
self-control, and as a device for social gatherings and contact
with the outside world, the place of music in the asylum offers
valuable insight into its uses and meanings in nineteenth-century
England.
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