Böcker i Music in Nineteenth-Century Britain-serien

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.

Explores issues of orientalism, otherness, gender and sexuality that arise in artistic British representations of non-European musicians during the 19th-century, by utilizing theories of orientalism, and the subsidiary (particularly aesthetic and literary) theories both on which these theories were based and on which they have been influential.

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.

The interrelationship of music and theology is a burgeoning area of scholarship in which conceptual issues have been explored by musicologists and theologians including Jeremy Begbie, Quentin Faulkner and Jon Michael Spencer. Their important work has opened up opportunities for focussed, critical studies of the ways in which music and theology can be seen to interact in specific repertoires, genres, and institutions as well as the work of particular composers, religious leaders and scholars. This collection of essays explores such areas in relation to the religious, musical and social history of nineteenth-century Britain. The book does not simply present a history of sacred music of the period, but examines the role of music in the diverse religious life of a century that encompassed the Oxford Movement, Catholic Emancipation, religious revivals involving many different denominations, the production of several landmark hymnals and greater legal recognition for religions other than Christianity. The book therefore provides a valuable guide to the music of this complex historical period.

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.

The English Bach Awakening concerns the introduction into England of J.S. Bach''s music and information about him. Hitherto this subject has been called ''the English Bach revival'', but that is a misnomer. ''Revival'' implies prior life, yet no reference to Bach or to his music is known to have been made in England during his lifetime (1685-1750). The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. A focus of the book is the history of the manuscripts and the printed editions of Bach''s ''48'' - The Well-tempered Clavier - in England at this time, and its culmination in the ''analysed'' edition that Samuel Wesley and Charles Frederick Horn published in 1810-1813 and later revised. Wesley''s multifaceted role in the Bach Awakening is detailed, as are the several efforts that were made to translate Forkel''s biography of Bach into English. A chapter is devoted to A.F.C. Kollmann''s endeavour to prove the regularity of Bach''s Chromatic Fantasy, and the book concludes with a discussion of portraits of Bach in England before 1830.

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.

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.

The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. Australian editor.

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.

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.

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.

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.

This work deconstructs the myth that surrounds "Victorian parlour songs". The term implies a clear-cut genre characterized by stereotyped musical and literary features. This book shows that is not the case, and that "Victorian parlour music" was a variety of musical forms and song styles.