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，随着出版商利用日益增长的业余音乐人市场和新印刷技术的发展，英国的音乐出版活动出现了爆炸性增长。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来源作为分析影响其内容的更广泛的历史趋势的基础。我的主要目的将是评估音乐印刷实践的变化，以应对1750年至1850年期间不列颠群岛消费音乐的不同社会政治群体的出现。我将专门研究出版商、作曲家和编辑在向新市场销售乐谱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、品味形成过程以及精英和工薪阶层社区之间共同认同概念的发展。除了音乐经典之外，我打算把重点放在主导日常音乐文化的中庸作曲家身上。我将探讨这些作曲家的调解作用，通过分析和收集订阅名单以及图书馆、音乐会协会和互助促进协会的信息，探讨这些作曲家在英国工业城镇相互促进协会和其他机构的音乐活动的作用，因为文化机构的成员绝大多数是男性，而国内音乐实践主要是女性，我还将纳入教学乐谱和文本，试图在研究中平衡性别表征，因为在18世纪家庭中，女性通常参与音乐辅导。然后，我打算使用收集到的数据，将打印的乐谱归类为不同阶层和性别人口统计中使用的乐谱，目的是确定乐谱的构成和编辑元素的变化如何反映出版商对目标群体的态度。我的最终目标是评估贝多芬出版的手稿在构成和编辑方面的变化，这些手稿在贝多芬作品的早期高端版本与女性和工人阶级消费的版本之间发生了变化。我将使用他在这一时期的大量印刷分数来评估出版实践中的变化，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，以揭示革命性音乐性是如何渗透到音乐主流中的。追踪这一时期的音乐投入、音乐实践及其社会政治影响，需要一个宽广的比较视角。通过这次学习，我希望获得一个更广阔的视角，了解那个时代的音乐实践，并了解音乐出版实践的发展如何影响、受其市场日益复杂的社会影响，并与其相互作用。更广泛地说，我希望揭示一种开明的中庸音乐文化，反映那个时代的革命意识形态，并巩固非规范音乐文化的历史意义。