Music publishing in the British Isles, 1750 - 1850

不列颠群岛的音乐出版，1750 - 1850 年

• 批准号: 2105173
• 金额: --
• 依托单位: University of Liverpool
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2105173
• 关键词: Music; publishing; British; Isles; 1750

The period between 1750 and 1850 witnessed an explosion in music publishing activity in the UK, as publishers exploited a growing market of amateur musicians and the development of new printing technologies. This project will investigate issues relating to the social, commercial and economic contexts of music publishing in Britain, using the British Library's printed music collection and related manuscript and archival sources as the basis for analysing the broader historical trends that shaped their content. My primary aim will be to assess the changes in music printing practices in response to the emergence of the different socio-political groups consuming music in the British Isles between 1750 and 1850. I will be looking specifically at how publishers, composers and editors altered the musical and material aspects of scores when selling to new markets and will evaluate how these changes impacted the social contexts of musical performance, the processes of taste formation, and the development of shared notions of identity between elite and working-class communities. Looking beyond the musical canon, I intend to focus on the middlebrow composers who dominated everyday musical culture. I will approach the mediating role of these composers by addressing the musical activities of mutual improvement societies and other institutions in British Industrial towns through the analysis and collection of information from subscription lists as well as library, concert society, and mutual improvement society records As membership of cultural institutions was overwhelmingly male and domestic music practice was a predominantly female endeavour, I will also incorporate pedagogical scores and texts in an attempt to balance representations of gender in the study, as women were typically involved in music tutelage in the eighteenth-century household. I then intend to use the collected data to categorise printed scores into those consumed within different class and gender demographics with the aim of establishing how changes in compositional and editorial elements of scores reflected publishers' attitudes to their target groups.My final aim is to assess the compositional and editorial alterations of Beethoven's published manuscripts between early upmarket editions of his work and those consumed by women and the working classes. I will use the vast quantity of his printed scores from this period to evaluate changes in publishing practice and to understand how they reflect the gendered and class-based assumptions of the publishing industry. To identify the musical connections between highbrow and middlebrow culture I will continue with a technical and stylistic analysis of Beethoven's works and the middlebrow music to reveal how revolutionary musicality filtered down into the musical mainstream. Tracing musical engagement, musical practice and their socio-political implications over this period will require a wide comparative lens. What I hope to achieve through this studentship is a broader perspective of the musical practices of the period and to understand how the development of music publishing practices influenced, were influenced by, and interacted with the growing social complexities of their markets. More generally, I expect to reveal an enlightened middlebrow musical culture that reflected the revolutionary ideologies of the period and consolidate the historical significance of non-canonical musical cultures.

1750年至1850年期间，随着出版商利用业余音乐家不断增长的市场和新印刷技术的发展，英国音乐出版活动出现了爆炸式增长。该项目将调查与英国音乐出版的社会、商业和经济背景有关的问题，使用大英图书馆的印刷音乐收藏和相关手稿和档案资源作为分析塑造其内容的更广泛的历史趋势的基础。我的主要目的是评估音乐印刷实践的变化，以应对1750年至1850年间不列颠群岛不同社会政治群体消费音乐的出现。我将特别关注出版商、作曲家和编辑在销售新市场时如何改变乐谱的音乐和物质方面，并将评估这些变化如何影响音乐表演的社会背景、品味形成的过程，以及精英和工人阶级社区之间共同身份观念的发展。在音乐经典之外，我打算把重点放在那些主导日常音乐文化的中庸作曲家身上。我将通过分析和收集来自订阅名单、图书馆、音乐会协会和互助协会记录的信息来处理英国工业城镇互助协会和其他机构的音乐活动，从而探讨这些作曲家的中介作用。由于文化机构的成员绝大多数是男性，而家庭音乐实践主要是女性的努力，我还将结合教学乐谱和文本，试图在研究中平衡性别代表，因为在18世纪的家庭中，女性通常参与音乐指导。然后，我打算使用收集到的数据，将印刷的分数分类为不同阶级和性别人口统计的消费分数，目的是确定分数的组成和编辑元素的变化如何反映出版商对其目标群体的态度。我最后的目的是评估贝多芬出版的手稿在早期高档版本和女性和工人阶级消费的版本之间的作曲和编辑变化。我将利用他在这一时期出版的大量分数来评估出版实践的变化，并了解它们如何反映出版业的性别和阶级假设。为了确定高雅文化和中庸文化之间的音乐联系，我将继续对贝多芬的作品和中庸音乐进行技术和风格分析，以揭示革命性的音乐性是如何渗透到音乐主流的。追踪这一时期的音乐参与、音乐实践及其社会政治影响，将需要一个广泛的比较视角。我希望通过这次学习，能够对这一时期的音乐实践有一个更广阔的视角，并了解音乐出版实践的发展如何影响、被如何影响、以及如何与日益复杂的社会市场相互作用。更一般地说，我希望揭示一种开明的中庸音乐文化，它反映了那个时期的革命思想，巩固了非规范音乐文化的历史意义。