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 central themes of status and identity run throughout this book, charting ways in which the music profession engaged with its place in society.
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.
35 J. Ella, ' e Social Status of Musicians' in Musical Sketches Abroad, and at Home (London: Ridgway, 1869), pp. ... The Music Profession in Britain, 1780–1920: New Perspectives on Status and Identity (Abingdon: Routledge, 2018), pp.
As Heywood's involvement attests, the consultation of male relations regarding young women's musical education was commonplace, and fathers as well as mothers can be found eagerly encouraging their daughters to develop as high quality a ...
In: Muzio Clementi. Cosmopolita della Musica, edited by Richard Bösel and Massimiliano Sala. Bologna: Ut Orpheus Edizioni, pp. 61–80. Golding, R. (2018). The Music Profession in Britain, 1780–1920.
Gender and the Victorian Periodical. Cambridge: Cambridge University Press. Fraser, Nancy. 1992. 'Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy.' Habermas and the Public Sphere.
Exploring the Robin Hood Country. Clapham: Dalesman Publishing. Moreland, John and Dawn Hadley with Ashley Tuck and Milica Rajic. 2020. Sheffield Castle: Archaeology, Archives and Regeneration, 1927–2018. York: White Rose University ...
... 1900–1960 Susan Boynton and Roe-Min Kok, editors Musical Childhoods and the Cultures of Youth Ron Emoff Recollecting from the Past: Musical Practice and Spirit Possession on the East Coast of Madagascar James Buhler, Caryl Flinn, ...
Emma Sutton, Aubrey Beardsley and British Wagnerism in the 1890s (Oxford: Oxford University Press, 2001), 1; see also Theresa Muir, “Wagner in England: Four Writers before Shaw” (PhD diss., The City University of New York, 1997).
as obscene , but music that was uplifting and improving was encouraged that is , mostly sacred music and hymn singing . ... Popular Music in England , 1840–1914 : a social history ( Kingston and Montreal : McGill - Queen's University ...