Bücher der Reihe Music in Nineteenth-Century Britain

Presents musical connections between Britain and the continent of Europe, and Britain and its Empire. This book uses approaches and methods that recognize the integral role of music within a wider culture, including religious, political and social life. The topics range from Italian opera in Dublin to British musicians in Canada, and more.

A collection of fourteen essays that reflect on the relationship between music and Orientalism in the British Empire over the course of the nineteenth century.

William Sweetland was a Bath organ builder who flourished from c 1847 to 1902 during which time he built about 300 organs. This title relates the biographical details of Sweetland's family and business history. It consists of a Gazeteer of all known organs by Sweetland organized by counties.

Roman Catholic church music in England served the needs of a multi-faceted community people during the long nineteenth century. This book sets the music in its historical, liturgical and legal context, pointing to the ways in which the music itself can be used as evidence to throw light on the changing character of English Catholicism.

Critical writing about music and music history in 19th-century Britain was permeated with metaphor and analogy. This text examines how over-arching theories of music history were affected by reference to various figurative linguistic templates adopted from other disciplines.

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.

How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music''s place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake''s verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot''s use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. The key figure in this process was Michael Costa. This book provides insight into the politics and changing aesthetics of the Victorian musical world.

While the musical culture of the British Isles in the 'long nineteenth century' has been reclaimed from obscurity by musicologists in the last thirty years, appraisal of operatic culture in the latter part of this period has remained elusive. Paul Rodmell examines the nature of operatic culture in the British Isles during this period.

Until the nineteenth century, music occupied a marginal place in British universities. 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.

Considers the reception of the composer, pianist, organist and conductor Felix Mendelssohn in nineteenth-century England, and his influence on English musical culture.

In nineteenth-century British society music and musicians were organized as they had never been before. This organization was manifested, in part, by the introduction of music into powerful institutions, both out of belief in music's inherently beneficial properties, and also to promote music occupations and professions in society at large.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain.

The idea that the middle class arose during the 1880s is now widely accepted amongst social historians but the notion that such a social group dominated music appreciation is probably untrue. This book explores the European middle class and its role in musical life.

How was music depicted in and mediated through Romantic and Victorian poetry? That is the question which this volume of essays explores in order to achieve a better understanding of the place of music and its significance in 19th-century British culture.

Focuses upon aspects of performance in the broader context of nineteenth-century British musical culture. In four sections, 'Musical Cultures', 'Societies', 'National Music' and 'Methods', this volume assesses the role music performance plays in articulating significant trends and currents of the cultural life of the period.

As the first comprehensive study of MacCunn's life, this book illustrates how social and cultural situations, as well as personal relationships, influenced his career. Having risen to fame in the late 1880s with a string of Scottish works.

Born into the famous family of piano makers, Lucy Broadwood (1858-1929) became one of the chief collectors and scholars of the first English folk music revival in the late nineteenth and early twentieth centuries. This biography sheds light on her early years and chronicles her later busy social, artistic and musical life.

The aim of this volume is to analyze the contribution of music journalists to the revival of English music in the second half of the 19th century - the phenomenon that came to be called the "English musical renaissance". In so doing it re-evaluates their impact on British musical history.

Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context. Attention is given to some of the performance issues raised.

In nineteenth-century British society music and musicians were organized as they had never been before. This organization was manifested, in part, by the introduction of music into powerful institutions, both out of belief in music''s inherently beneficial properties, and also to promote music occupations and professions in society at large. This book provides a representative and varied sample of the interactions between music and organizations in various locations in the nineteenth-century British Empire, exploring not only how and why music was institutionalized, but also how and why institutions became ''musicalized''. Individual essays explore amateur societies that promoted music-making; institutions that played host to music-making groups, both amateur and professional; music in diverse educational institutions; and the relationships between music and what might be referred to as the ''institutions of state''. Through all of the essays runs the theme of the various ways in which institutions of varying formality and rigidity interacted with music and musicians, and the mutual benefit and exploitation that resulted from that interaction.

Charles Halle was one of the leading musicians of the nineteenth century and intimate with almost all of the great composers and performers of his time. This work presents a fresh perspective on Halle's life and achievement, constructed mainly from primary sources, which serves to dispel many of the inaccuracies and omissions.

A history of the English music festival is long overdue. This title argues that these festivals represented the most significant cultural events in provincial England during the nineteenth century and emphasizes their particular importance in the promotion and commissioning of new music.