Music publishing in the British Isles, 1750 - 1850

1750年至1850年期间，英国的音乐出版活动出现了爆炸式增长，出版商利用了不断增长的业余音乐家市场和新印刷技术的发展。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年期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，作曲家和编辑如何在销售到新市场时改变乐谱的音乐和材料方面，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的共同身份概念的发展。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平庸作曲家身上。我将通过分析和收集订阅列表以及图书馆，音乐会协会和相互改进协会记录中的信息，讨论英国工业城镇相互改进协会和其他机构的音乐活动，以接近这些作曲家的中介作用。我还将纳入教学分数和文本，试图平衡研究中的性别代表性，因为在18世纪的家庭中，女性通常参与音乐辅导。然后，我打算利用收集到的数据，将印刷乐谱分类为不同阶层和性别的消费者，目的是建立乐谱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。我的最终目标是评估贝多芬作品早期高端版本和女性消费者之间的贝多芬出版手稿的组成和编辑变化，工人阶级。我将使用大量的印刷分数从这一时期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为基础的假设。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中的。追踪这一时期的音乐参与、音乐实践及其社会政治影响需要一个广泛的比较透镜。我希望通过这个学生身份实现的是一个更广泛的视角的时期的音乐实践，并了解音乐出版实践的发展如何影响，被影响，并与他们的市场日益增长的社会复杂性相互作用。更广泛地说，我希望揭示一种开明的中产阶级音乐文化，反映了这一时期的革命意识形态，并巩固了非经典音乐文化的历史意义。

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.