Jenny Doctor is a musicologist intrigued by social aspects of British culture in the twentieth century, particularly with respect to the development of sound technologies. After she was awarded a Fulbright Grant to the UK in 1989, she stayed on, rummaging around the BBC archives whenever possible; her investigations led to The BBC and Ultra-Modern Music, 1922–36: Shaping a Nation’s Tastes (1999). With Sir Nicholas Kenyon and David Wright, she co-edited The Proms: A New History (2007), contributing an essay on the interwar period. At the same time, she and Nicky Losseff co-edited Silence, Music, Silent Music (Ashgate, 2007), to which she contributed the essay, 'The Texture of Silence'. Jenny's interest in mid-twentieth-century British composers is evident in essays she's published on Elgar, Vaughan Williams and Britten, as well as in an article that she recently published in Musical Quarterly, 'The Parataxis of British Musical Modernism' (91/1–2 (2008): 89–115).Sophie Fuller studied music at King’s College, London University and was a lecturer in music at the University of Reading. She is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present (1994) and has co-edited a variety of essays around this topic. Sophie’s research interests include many different aspects of music, gender and sexuality but focus in particular on musical life in late 19th- and 20th-century Britain. Her most recent work in this area has been on creative women and exoticism in fin-de-siècle Britain and on the significance of the private musical world in the life and career of Edward Elgar. Other interests include song, together with its composers and singers – from Hildegard of Bingen through Maude Valérie White and Clara Butt to George Michael – and Russian music and music in Russia.

• Part V: Letters 188–268 (February 1966–November 1969) V.1. Letters 188–198 (February 1966–December 1966) V.2. Letters 199–220 (January 1967–May 1967) V.3. Letters 221–238 (July 1967–January 1968) V.4. Letters 239–254 (February 1968–December 1968) V.5. Letters 255–268 (December 1968–November 1969) Part VI: Letters 269–353 (January 1970–January 1977) VI.1. Letters 269–285 (January 1970–December 1970) VI.2. Letters 286–295 (January 1971–November 1971) VI.3. Letters 295–305 (February 1972–January 1973) VI.4. Letters 306–315 (March 1973–December 1973) VI.5. Letters 316–326 (February 1974–December 1974) VI.6. Letters 327–337 (January 1975–December 1975) VI.7. Letters 338–353 (February 1976–January 1977), Grace Williams: Works, Elizabeth Maconchy: Works

Jenny Doctor is a musicologist intrigued by social aspects of British culture in the twentieth century, particularly with respect to the development of sound technologies. After she was awarded a Fulbright Grant to the UK in 1989, she stayed on, rummaging around the BBC archives whenever possible; her investigations led to The BBC and Ultra-Modern Music, 1922–36: Shaping a Nation’s Tastes (1999). With Sir Nicholas Kenyon and David Wright, she co-edited The Proms: A New History (2007), contributing an essay on the interwar period. At the same time, she and Nicky Losseff co-edited Silence, Music, Silent Music (Ashgate, 2007), to which she contributed the essay, 'The Texture of Silence'. Jenny's interest in mid-twentieth-century British composers is evident in essays she's published on Elgar, Vaughan Williams and Britten, as well as in an article that she recently published in Musical Quarterly, 'The Parataxis of British Musical Modernism' (91/1–2 (2008): 89–115).Sophie Fuller studied music at King’s College, London University and was a lecturer in music at the University of Reading. She is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present (1994) and has co-edited a variety of essays around this topic. Sophie’s research interests include many different aspects of music, gender and sexuality but focus in particular on musical life in late 19th- and 20th-century Britain. Her most recent work in this area has been on creative women and exoticism in fin-de-siècle Britain and on the significance of the private musical world in the life and career of Edward Elgar. Other interests include song, together with its composers and singers – from Hildegard of Bingen through Maude Valérie White and Clara Butt to George Michael – and Russian music and music in Russia.

• Part V: Letters 188–268 (February 1966–November 1969) V.1. Letters 188–198 (February 1966–December 1966) V.2. Letters 199–220 (January 1967–May 1967) V.3. Letters 221–238 (July 1967–January 1968) V.4. Letters 239–254 (February 1968–December 1968) V.5. Letters 255–268 (December 1968–November 1969) Part VI: Letters 269–353 (January 1970–January 1977) VI.1. Letters 269–285 (January 1970–December 1970) VI.2. Letters 286–295 (January 1971–November 1971) VI.3. Letters 295–305 (February 1972–January 1973) VI.4. Letters 306–315 (March 1973–December 1973) VI.5. Letters 316–326 (February 1974–December 1974) VI.6. Letters 327–337 (January 1975–December 1975) VI.7. Letters 338–353 (February 1976–January 1977), Grace Williams: Works, Elizabeth Maconchy: Works

Jenny Doctor is a musicologist intrigued by social aspects of British culture in the twentieth century, particularly with respect to the development of sound technologies. After she was awarded a Fulbright Grant to the UK in 1989, she stayed on, rummaging around the BBC archives whenever possible; her investigations led to The BBC and Ultra-Modern Music, 1922–36: Shaping a Nation’s Tastes (1999). With Sir Nicholas Kenyon and David Wright, she co-edited The Proms: A New History (2007), contributing an essay on the interwar period. At the same time, she and Nicky Losseff co-edited Silence, Music, Silent Music (Ashgate, 2007), to which she contributed the essay, 'The Texture of Silence'. Jenny's interest in mid-twentieth-century British composers is evident in essays she's published on Elgar, Vaughan Williams and Britten, as well as in an article that she recently published in Musical Quarterly, 'The Parataxis of British Musical Modernism' (91/1–2 (2008): 89–115).Sophie Fuller studied music at King’s College, London University and was a lecturer in music at the University of Reading. She is the author of The Pandora Guide to Women Composers: Britain and the United States, 1629-present (1994) and has co-edited a variety of essays around this topic. Sophie’s research interests include many different aspects of music, gender and sexuality but focus in particular on musical life in late 19th- and 20th-century Britain. Her most recent work in this area has been on creative women and exoticism in fin-de-siècle Britain and on the significance of the private musical world in the life and career of Edward Elgar. Other interests include song, together with its composers and singers – from Hildegard of Bingen through Maude Valérie White and Clara Butt to George Michael – and Russian music and music in Russia.

• Part V: Letters 188–268 (February 1966–November 1969) V.1. Letters 188–198 (February 1966–December 1966) V.2. Letters 199–220 (January 1967–May 1967) V.3. Letters 221–238 (July 1967–January 1968) V.4. Letters 239–254 (February 1968–December 1968) V.5. Letters 255–268 (December 1968–November 1969) Part VI: Letters 269–353 (January 1970–January 1977) VI.1. Letters 269–285 (January 1970–December 1970) VI.2. Letters 286–295 (January 1971–November 1971) VI.3. Letters 295–305 (February 1972–January 1973) VI.4. Letters 306–315 (March 1973–December 1973) VI.5. Letters 316–326 (February 1974–December 1974) VI.6. Letters 327–337 (January 1975–December 1975) VI.7. Letters 338–353 (February 1976–January 1977), Grace Williams: Works, Elizabeth Maconchy: Works