This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of musics social spheres, the emergence of music publishing, and the potential of digital musicology research.
This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works.
Chapter
1. Introduction. Simon D. I. Fleming and Matin Perkins
Section
1. The Production of Musical Works by Subscription
Chapter
2. Thomas Mace and the Publication by Subscription of Musicks
Monument (1676). Stephanie Carter
Chapter
3. Cecilia Maria Barthélemons Three Sonatas, op
1. Michael Kassler
Chapter
4. Maria Hester Park and her Subscribers. Lise Karin Meling
Chapter
5. Publishing Music by Subscription in Eighteenth-Century Edinburgh:
John Watlen and his Collections of Circus Tunes. Simon D. I. Fleming
Chapter
6. William Felton and John Pixell: The Musical Circles of the Vicar
Composer. Simon D. I. Fleming
Section
2. The Consumption of Music Published by Subscription
Chapter
7. Gentry, Servants, and Musicians: A Network of Subscribers in
North-East England. Roz Southey
Chapter
8. The Music-Making of the Bridgeman Family, Weston Park. Martin
Perkins
Chapter
9. A Big Data Study: Musical Societies in Subscription Lists. Simon
D. I. Fleming and Martin Perkins
Chapter
10. Strathspeys, Reels, and Instrumental Airs: A National Product.
Karen E. McAulay
Chapter
11. Profiting from the Slave Economy and Subscribing to Music: The
British Experience in the Eighteenth Century. David Hunter
Chapter
12. Foreign Composers, the Subscription Market, and the Popularity of
Continental Music in Eighteenth-Century Britain. Simon D. I. Fleming
Simon D.I. Fleming holds a PhD in music from Durham University, and formerly taught in the Department of Music. He is currently Head of Music at the Queen Elizabeth Sixth Form College, Darlington, UK.
Martin Perkins holds a PhD from the Royal Birmingham Conservatoire, Birmingham City Unveristy, where he lectures in music history, theory, and performance.
