Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020).Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly.Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.

• Introduction: Music and Intellectual Culture in the Nineteenth CenturyPaul Watt, Sarah Collins, and Michael Allis Part I: TEXTS AND PRACTICES 1. History, Historicism, HistoriographyKevin Karnes 2. CriticismNoel Verzosa 3. Figures and Forms of Analysis PracticeRémy Campos 4. Biography and Life-WritingChristopher Wiley 5. Travel WritingMichael Allis 6. Philosophy and AestheticsLawrence Kramer 7. Fiction and PoetryMichael Halliwell 8. EphemeraCatherine Massip Part II: NETWORKS AND INSTITUTIONS 9. Newspapers, Little Magazines, and AnthologiesPaul Watt 10. Learned Societies, Institutions, Associations, and ClubsJeremy Dibble 11. Churches and Devotional PracticeMartin Clarke 12. Libraries and ArchivesMatthias Lundberg 13. Universities and ConservatoriesPeter Tregear 14. The Concert SeriesSimon McVeigh Part III: DISCOURSES 15. Musical CanonsWilliam Weber 16. Landscape and EcologyDaniel M. Grimley 17. The National and the UniversalSarah Collins 18. Science and ReligionBennett Zon 19. Popular Song and Working-Class CultureGillian M. Rodger 20. EmotionsMichael Spitzer 21. Time and TemporalityBenedict Taylor 22. EthicsTomas McAuley 23. Music Scholarship and DisciplinarityMichel Duchesneau

Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020).Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly.Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.

• Introduction: Music and Intellectual Culture in the Nineteenth CenturyPaul Watt, Sarah Collins, and Michael Allis Part I: TEXTS AND PRACTICES 1. History, Historicism, HistoriographyKevin Karnes 2. CriticismNoel Verzosa 3. Figures and Forms of Analysis PracticeRémy Campos 4. Biography and Life-WritingChristopher Wiley 5. Travel WritingMichael Allis 6. Philosophy and AestheticsLawrence Kramer 7. Fiction and PoetryMichael Halliwell 8. EphemeraCatherine Massip Part II: NETWORKS AND INSTITUTIONS 9. Newspapers, Little Magazines, and AnthologiesPaul Watt 10. Learned Societies, Institutions, Associations, and ClubsJeremy Dibble 11. Churches and Devotional PracticeMartin Clarke 12. Libraries and ArchivesMatthias Lundberg 13. Universities and ConservatoriesPeter Tregear 14. The Concert SeriesSimon McVeigh Part III: DISCOURSES 15. Musical CanonsWilliam Weber 16. Landscape and EcologyDaniel M. Grimley 17. The National and the UniversalSarah Collins 18. Science and ReligionBennett Zon 19. Popular Song and Working-Class CultureGillian M. Rodger 20. EmotionsMichael Spitzer 21. Time and TemporalityBenedict Taylor 22. EthicsTomas McAuley 23. Music Scholarship and DisciplinarityMichel Duchesneau

Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020).Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly.Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.

• Introduction: Music and Intellectual Culture in the Nineteenth CenturyPaul Watt, Sarah Collins, and Michael Allis Part I: TEXTS AND PRACTICES 1. History, Historicism, HistoriographyKevin Karnes 2. CriticismNoel Verzosa 3. Figures and Forms of Analysis PracticeRémy Campos 4. Biography and Life-WritingChristopher Wiley 5. Travel WritingMichael Allis 6. Philosophy and AestheticsLawrence Kramer 7. Fiction and PoetryMichael Halliwell 8. EphemeraCatherine Massip Part II: NETWORKS AND INSTITUTIONS 9. Newspapers, Little Magazines, and AnthologiesPaul Watt 10. Learned Societies, Institutions, Associations, and ClubsJeremy Dibble 11. Churches and Devotional PracticeMartin Clarke 12. Libraries and ArchivesMatthias Lundberg 13. Universities and ConservatoriesPeter Tregear 14. The Concert SeriesSimon McVeigh Part III: DISCOURSES 15. Musical CanonsWilliam Weber 16. Landscape and EcologyDaniel M. Grimley 17. The National and the UniversalSarah Collins 18. Science and ReligionBennett Zon 19. Popular Song and Working-Class CultureGillian M. Rodger 20. EmotionsMichael Spitzer 21. Time and TemporalityBenedict Taylor 22. EthicsTomas McAuley 23. Music Scholarship and DisciplinarityMichel Duchesneau