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Despite recent interest in music-making in the so-called
'provinces', the idea still lingers that music-making outside
London was small in scale, second-rate and behind the times.
However, in Newcastle upon Tyne, the presence of a nationally known
musician, Charles Avison (1709-1770), prompts a reassessment of how
far this idea is still tenable. Avison's life and work illuminates
many wider trends. His relationships with his patrons, the
commercial imperatives which shaped his activities, the historical
and social milieu in which he lived and worked, were influenced by
and reflected many contemporary movements: Latitudinarianism,
Methodism, the improvement of church music, the aesthetics of the
day including new ideas circulating in Europe, discussions of
issues such as gentility, and the new commercialism of leisure. He
can be considered as the notional centre of a web of connections,
both musical and non-musical, extending through every part of
Britain and into both Europe and America. This book looks at these
connections, exploring the ways in which the musical culture in the
north-east region interacted with, and influenced, musical culture
elsewhere, and the non-musical influences with which it was
involved, including contemporary religious, philosophical and
commercial developments, establishing that regional centres such as
Newcastle could be as well-informed, influential and vibrant as
London.
Despite recent interest in music-making in the so-called
'provinces', the idea still lingers that music-making outside
London was small in scale, second-rate and behind the times.
However, in Newcastle upon Tyne, the presence of a nationally known
musician, Charles Avison (1709-1770), prompts a reassessment of how
far this idea is still tenable. Avison's life and work illuminates
many wider trends. His relationships with his patrons, the
commercial imperatives which shaped his activities, the historical
and social milieu in which he lived and worked, were influenced by
and reflected many contemporary movements: Latitudinarianism,
Methodism, the improvement of church music, the aesthetics of the
day including new ideas circulating in Europe, discussions of
issues such as gentility, and the new commercialism of leisure. He
can be considered as the notional centre of a web of connections,
both musical and non-musical, extending through every part of
Britain and into both Europe and America. This book looks at these
connections, exploring the ways in which the musical culture in the
north-east region interacted with, and influenced, musical culture
elsewhere, and the non-musical influences with which it was
involved, including contemporary religious, philosophical and
commercial developments, establishing that regional centres such as
Newcastle could be as well-informed, influential and vibrant as
London.
The north-east of England in the eighteenth century was a region
where many different kinds of musical activity thrived and where a
wide range of documentation survives. Such activities included
concert-giving, teaching, tuning and composition, as well as music
in the theatre and in church. Dr Roz Southey examines the impulses
behind such activities and the meanings that local people found
inherent in them. It is evident that music could be perceived or
utilized for extremely diverse purposes; as entertainment, as a
learned art, as an aid to piety, as a profession, a social
facilitator and a support to patriotism and nationalism. Musical
societies were established throughout the century, and Southey
illustrates the social make-up of the members, as well as the role
of Gentlemen Amateurs in the organizing of concerts, and the
connections with London and other centres. The book draws upon a
rich selection of source material, including local newspapers,
council and ecclesiastical records, private papers and diaries and
accounts of local tradesman, as well as surviving examples of music
composed in the area by Charles Avison, Thomas Ebdon and John Garth
of Durham, amongst many others. Charles Avison's importance is
focused upon particularly, and his Essay on Musical Expression is
considered alongside other contemporary writings of lesser fame.
Southey provides a fascinating insight into the type and social
class of audiences and their influence on the repertoire performed.
The book moves from a consideration of music being used as a
'fashion item', evidenced by the patronage of 'big name' soloists
from London and abroad, to fiddlers, ballad singers, music at
weddings, funerals, public celebrations, and music for marking the
events of the American War of Independence and the French
Revolutionary Wars. It can be seen, therefore, that the north east
was an area of important musical activity, and that the music was
always interwoven into the political, economic, religious and
commercial fabric of eighteenth-century life.
The north-east of England in the eighteenth century was a region
where many different kinds of musical activity thrived and where a
wide range of documentation survives. Such activities included
concert-giving, teaching, tuning and composition, as well as music
in the theatre and in church. Dr Roz Southey examines the impulses
behind such activities and the meanings that local people found
inherent in them. It is evident that music could be perceived or
utilized for extremely diverse purposes; as entertainment, as a
learned art, as an aid to piety, as a profession, a social
facilitator and a support to patriotism and nationalism. Musical
societies were established throughout the century, and Southey
illustrates the social make-up of the members, as well as the role
of Gentlemen Amateurs in the organizing of concerts, and the
connections with London and other centres. The book draws upon a
rich selection of source material, including local newspapers,
council and ecclesiastical records, private papers and diaries and
accounts of local tradesman, as well as surviving examples of music
composed in the area by Charles Avison, Thomas Ebdon and John Garth
of Durham, amongst many others. Charles Avison's importance is
focused upon particularly, and his Essay on Musical Expression is
considered alongside other contemporary writings of lesser fame.
Southey provides a fascinating insight into the type and social
class of audiences and their influence on the repertoire performed.
The book moves from a consideration of music being used as a
'fashion item', evidenced by the patronage of 'big name' soloists
from London and abroad, to fiddlers, ballad singers, music at
weddings, funerals, public celebrations, and music for marking the
events of the American War of Independence and the French
Revolutionary Wars. It can be seen, therefore, that the north east
was an area of important musical activity, and that the music was
always interwoven into the political, economic, religious and
commercial fabric of eighteenth-century life.
This collection situates the North-East within a developing
nationwide account of British musical culture. Music in North-East
England provides a wide-ranging exploration of musical life in the
North-East of England during the early modern period. It
contributes to a growing number of studies concerned with
developing a nationwide account of British musical culture. By
defining the North-East in its widest sense, the collection
illuminates localised differences, distinct musical cultures in
urban centres and rural locations, as well as region-wide networks,
and situates regional musical life in broader national and
international contexts. Music in North-East England affords new
insights into aspects of musical life that have been the focus of
previous studies of British musical life - such as public concerts
- but also draws attention to aspects that have attracted less
scholarly attention in histories of early modern British musical
culture: the musical activities and tastes of non-elite consumers;
interactions between art music and cheap print and popular song;
music education beyond London and its satellite environs; the
recovery of northern urban soundscapes; and the careers of
professional musicians who have not previously been the focus of
major published musicological studies.
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Scorcher (Hardcover)
Roz Southey
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R637
R136
Discovery Miles 1 360
Save R501 (79%)
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Ships in 9 - 15 working days
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Eppie Epford is a hairdresser by trade but in his spare time he's a
demon bicycle racer - the best in the area, they say. He's looking
forward to the forthcoming Easter Sports where he's the favourite
for the five-mile race. Little does he know that before the
starter's gun sounds, he'll be mixed up with a murder, some murky
politics, suspicious betting, gentry of questionable morals and
some very persistent policemen.But there's always Miss Alma Gains
to rely upon, a young lady of unquestionable intelligence and
indomitable daring. She also wants to be a racer, despite being a
woman, and Eppie doesn't see in the least why she shouldn't be.
Unfortunately, that's not the opinion of most people.Can Eppie
solve the murder and extricate himself and Alma from a perilous
situation? He's a racer - he's not going to give up until the race
is won - but there are dangerous forces ranged against him...
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