Download e-book for kindle: Music and Performance Culture in Nineteenth-Century Britain: by Bennett Zon

By Bennett Zon

ISBN-10: 1409439798

ISBN-13: 9781409439790

Track and function tradition in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley is the 1st booklet to concentration upon elements of functionality within the broader context of nineteenth-century British musical tradition. In 4 elements, 'Musical Cultures', 'Societies', 'National song' and 'Methods', this quantity assesses the function tune functionality performs in articulating major developments and currents of the cultural lifetime of the interval and contains articles on functionality and person tools; orchestral and choral ensembles; church and synagogue song; track societies; cantatas; vocal albums; the middle-class salon, accomplishing; church track; and piano pedagogy. An advent explores Temperley's big contribution to musicology, highlighting his seminal value in growing the sphere of nineteenth-century British tune reports, and a bibliography presents an up to date record of his guides, together with books and monographs, ebook chapters, magazine articles, versions, experiences, serious versions, preparations and compositions. Fittingly dedicated to an important point in Temperley's learn, this booklet offers students of all nineteenth-century musical issues the chance to discover the richness of Britain's musical historical past.

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Extra info for Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley

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And yet, the usefulness of music periodicals research was established by Nicholas Temperley as early as 1969 in an essay on the origins of the Musical Times that demonstrated some of the historical insights to be gained. For him, the spur was the (overlooked) questions of how and why the Musical Times, a journal founded in Victorian times, had survived into the late-twentieth century, and his desire to explain something of the social and cultural environment that had spawned it. Similar motivations arose when I was writing a short note on the Strad for the Dictionary of Nineteenth-Century Journalism (c.

Some groups were organized along gender lines, with ladies’ orchestras and string bands common (Elgar rehearsed his Serenade for String Orchestra op. 1 – the blurring is due to the movement of players). Some women, after professional training, made a living from performance as well as teaching, though relatively few achieved careers as soloists or in string quartets. Many were destined for a restaurant, department store or cinema band. Meanwhile, most female careers were ground out around provincial teaching.

44 Strad 4 (Jul. 1893): 51. The quality and rigour of the examination scheme is beyond the scope of this chapter, but the College of Violinists’ commercial success seems inescapable. Many smaller ‘diploma mills’ did not expand or endure to the same extent. 45 In ‘The Violinist’s Table’ in Strad 3/31 (Nov. 1892): 132 (column signed ‘E. ’); also advertised on 128. 46 As reported in the list of shareholders in Strings, 1/9 (Nov. 1894): 261. Foucher had 56 shares, Polonaski 24, out of a total of 87; they also held two shares jointly.

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Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley by Bennett Zon

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