Music and Performance Culture in Nineteenth-Century Britain

Bennett Zon is Professor of Music at Durham University and Co-Director of the International Network for Music Theology. Zon researches British culture of the long nineteenth-century, with particular interest in the relationship of music to evolutionary and theological thought. He has published The English Plainchant Revival (1999), Music and Metaphor in Nineteenth-Century British Musicology (2000) and Representing Non-Western Music in Nineteenth-Century Britain (2007). Zon is General Editor of Nineteenth-Century Music Review and the 'Music in Nineteenth-Century Britain' book series.

'It is a pleasure to welcome this volume celebrating the career of Nicholas Temperley, the pioneering inspiration for virtually all modern scholarly study of British music... Taken all in all, the richness of this volume, together with the specificity and variety of its research projects into unexplored corners, makes it a fitting tribute to Nicholas Temperley and a highly informative addition to the literature on British music.' North American British Music Studies Association Newsletter 'In short, this volume offers a fitting tribute to the work of Nicholas Temperley and a testimony to what this work served to generate... It is rewarding to see that a clearer picture of history of music and musical activity in Britain is emerging in tandem with an ever more convincing reconstruction of the narrative of its historiography.' Fontes Artis Musicae '... the individual contributions are well wrought and together they make for a very worthwhile book.' Victorian Studies

• Contents: Introduction, Bennett Zon; Part I Musical Cultures: Hidden agendas and the creation of community: the violin press in the late 19th century, Christina Bashford; Joining up the dots: cross-channel models in the shaping of London orchestral culture, 1895-1914, Leanne Langley; Charles Garland Verrinder and music at the West London Synagogue, 1859-1904, Susan Wollenberg; Music, morality, and rational amusement at the Victorian middle-class soirée, Derek B. Scott. Part II Societies: Trial by dining club: the instrumental music of Haydn, Clementi and Mozart at London's Anacreontic Society, Simon McVeigh; Performance in private: 'the Working Men's Society' and the promotion of progressive repertoire in 19th-century Britain, Michael Allis; American songs, pastoral nationalism, and the English Temperance cantata, Charles Edward McGuire. Part III National Music: The British vocal album and the struggle for national music, Peter Horton; Musicking Caractacus, Julian Rushton. Part IV Methods: The conductor at the organ, or how choral and orchestral music was directed in Georgian England, Peter Holman; Willian Cole's view of modern psalmody, Sally Drage; Samuel Wesley and the development of organ pedals in England, Philip Olleson; Recapitulation and the musical education of Victorian children: The Child's Pianoforte Book (1882) by H. Keatley Moore, Bennett Zon; Nicholas Temperley publications; Index.