ContentsContents: Foreword by Nicholas Temperley; Part One: Introduction: Xenophilia in British music history, Nicholas Temperley; Part Two: Historiography: History, historicism, and the sublime analogy, Bennett Zon; Parry as historiographer, Jeremy Dibble; Part Three: Instruments and Performing Ensembles: Who bought concertinas in the winter of 1851? A glimpse at the sales accounts of Wheatstone and Co., Allan W. Atlas; Violin pedagogy in England during the first half of the 19th century, or The Incompleat Tutor for the Violin, David J. Golby; The practice and context of a private Victorian brass band, Trevor Herbert; Part Four: The Wesley Family: The obituary of Samuel Wesley, Philip Olleson; The unknown Wesley: the early instrumental and secular vocal music of Samuel Sebastian Wesley, Peter Horton; Part Five: Local Music History: Musical life in the 'second city of the Empire' during the 1870s as reflected in T.L. Stillie's contributions to the Glasgow Herald, Stuart Campbell; Music in 19th-century Oxford, Susan Wollenberg; Music-making in a Yorkshire country house, Caroline Wood; Part Six: Repertoire, Genre and Concert Life: 'Personifying the Saviour?': English Oratorio and the representation of the words of Christ, Barbara Mohn; The benefit concert in 19th-century London: from 'tax on the nobility' to 'monstrous nuisance', Simon McVeigh; Part Seven: Analysis and Criticism: Towards a tradition of music analysis in Britain in the 19th century, Catherine Dale; James William Davison, critic, crank and chronicler: a re-evaluation, Richard Kitson, Index.
There are currently no reviews for this product.