Paul Watt - Böcker

Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.

Music criticism in England underwent profound change from the 1880s to the 1920s. It gave rise to ‘New criticism’ that aimed to be rational, impartial and intellectually authoritative. It was a break from the criticism of old: the work of the opinionated journalist who wrote descriptive concert reviews with invective, cliché, bias and bombast. Critics such as Ernest Newman (1868–1959), John F. Runciman (1866–1916) and Michel D. Calvocoressi (1877–1944) fostered this new school and wrote extensively of their aspirations for musical criticism in their own times and for the future. This book charts the genesis of this new wave of musical criticism that sought to regulate and reform the profession of music critic. Alongside the establishment of principles, training manuals and schools for critics, hundreds of journal articles and dozens of books were written that encouraged new criticism, which also had a bearing on scholarly writing in biography, aesthetics and history. The Regulation and Reform of Music Criticism in Nineteenth-Century England considers the influence and advocacy of individual critics and the role that institutions, such as the Musical Association and the Musical Times, played in this period of change. The book also explores the impact that French and German writers had on their English counterparts, demonstrating the internationalization of critical thought of the period.

"This is a book that should be read by anyone interested in class, inequality, poverty and politics. Actually, probably more importantly it should be read by people who think that those things do not matter! It provides a wonderful summation of the huge amount of work on these topics that now exists and it also offers its own distinctive perspectives on a set of issues that are - despite the claims of some influential commentators - still central to the sociological enterprise and, indeed to political life."- Roger Burrows, University of York

"A clear and compelling analysis of the dynamics of social and spatial inequality in an era of globalisation. This is an invaluable resource for students and scholars in sociology, human geography and the social sciences more generally."- Gary Bridge, University of Bristol

With the declining attention paid to social class in sociology, how can we analyze continuing and pervasive socio-economic inequality? What is the impact of recent developments in sociology on how we should understand disadvantage?

Moving beyond the traditional dichotomies of social theory, this book brings the study of social stratification and inequality into the 21st century. Starting with the widely agreed 'fact' that the world is becoming more unequal, this book brings together the 'identity of displacement' in sociology and the 'spaces of flow' of geography to show how place has become an increasingly important focus for understanding new trends in social inquality.

"This is a book that should be read by anyone interested in class, inequality, poverty and politics. Actually, probably more importantly it should be read by people who think that those things do not matter! It provides a wonderful summation of the huge amount of work on these topics that now exists and it also offers its own distinctive perspectives on a set of issues that are - despite the claims of some influential commentators - still central to the sociological enterprise and, indeed to political life."- Roger Burrows, University of York

"A clear and compelling analysis of the dynamics of social and spatial inequality in an era of globalisation. This is an invaluable resource for students and scholars in sociology, human geography and the social sciences more generally."- Gary Bridge, University of Bristol

With the declining attention paid to social class in sociology, how can we analyze continuing and pervasive socio-economic inequality? What is the impact of recent developments in sociology on how we should understand disadvantage?

Moving beyond the traditional dichotomies of social theory, this book brings the study of social stratification and inequality into the 21st century. Starting with the widely agreed 'fact' that the world is becoming more unequal, this book brings together the 'identity of displacement' in sociology and the 'spaces of flow' of geography to show how place has become an increasingly important focus for understanding new trends in social inquality.

This is the first scholarly work to document the musical life of Joseph Holbrooke, one of Britain’s most prolific and controversial composers during the first half of the twentieth century. Holbrooke was outspoken on many issues, including the maligned fortunes of British composers, which he believed were brought about by apathy and indifference on the part of critics and the public. Despite doubts in various quarters over Holbrooke’s ability to forge a unique compositional idiom, many of his works were performed to critical acclaim in Britain, Europe, and the United States. Today, Holbrooke’s music is increasingly enjoyed and recorded.Joseph Holbrooke: Composer, Critic, and Musical Patriot opens with a biographical overview of Holbrooke that concentrates on his relationship with Granville Bantock and Wales and the role that Lord Howard de Walden played in Holbrooke’s work and development. Contributors offer studies of a selection of repertory by Holbrooke, including his chamber music, the operas Pierrot and Pierrette and The Enchanted Garden, and his tone poem “The Raven.” The final chapter describes Holbrooke’s patriotism by examining his book Contemporary British Composers, which was published in 1925. Included is an appendix that provides the first comprehensive and corrected list of Holbrooke’s compositions.This book will interest not only musicologists, musicians and listeners interested in the repertory of the British classical music tradition but also scholars and general readers interested in the ways Celticism, poetic inspiration, and nationalist ideology were expressed in the work of classical composers in the early twentieth century.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

This book brings together a body of new research which looks both backwards and forwards to consider how far the London 2012 Olympic legacy has been delivered and how far it has been a hollow promise.

Music criticism in England underwent profound change from the 1880s to the 1920s. It gave rise to ‘New criticism’ that aimed to be rational, impartial and intellectually authoritative. It was a break from the criticism of old: the work of the opinionated journalist who wrote descriptive concert reviews with invective, cliché, bias and bombast. Critics such as Ernest Newman (1868–1959), John F. Runciman (1866–1916) and Michel D. Calvocoressi (1877–1944) fostered this new school and wrote extensively of their aspirations for musical criticism in their own times and for the future. This book charts the genesis of this new wave of musical criticism that sought to regulate and reform the profession of music critic. Alongside the establishment of principles, training manuals and schools for critics, hundreds of journal articles and dozens of books were written that encouraged new criticism, which also had a bearing on scholarly writing in biography, aesthetics and history. The Regulation and Reform of Music Criticism in Nineteenth-Century England considers the influence and advocacy of individual critics and the role that institutions, such as the Musical Association and the Musical Times, played in this period of change. The book also explores the impact that French and German writers had on their English counterparts, demonstrating the internationalization of critical thought of the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

The songbooks of the 1830-40s were printed in tiny numbers, and small format so they could be hidden in a pocket, passed round or thrown away.Collectors have sought ‘these priceless chapbooks’, but only recently a collection of 49 songbooks has come to light. This collection represents almost all of the known songbooks from the period.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.

This book brings together a body of new research which looks both backwards and forwards to consider how far the London 2012 Olympic legacy has been delivered and how far it has been a hollow promise.

Public housing estates are disappearing from London’s skyline in the name of regeneration, while new mixed-tenure developments are arising in their place. This richly illustrated book provides a vivid interdisciplinary account of the controversial urban policy of demolition and rebuilding amid London’s housing crisis and the polarisation between the city’s have-nots and have-lots.Drawing on extensive fieldwork and interviews with over 180 residents living in some of the capital’s most deprived areas, Watt shows the dramatic ways that estate regeneration is reshaping London, fuelling socio-spatial inequalities via state-led gentrification. Foregrounding resident experiences and perspectives both before and during regeneration, he examines class, place belonging, home and neighbourhood, and argues that the endless regeneration process results in degeneration, displacement and fragmented communities.

Public housing estates are disappearing from London’s skyline in the name of regeneration, while new mixed-tenure developments are arising in their place. This richly illustrated book provides a vivid interdisciplinary account of the controversial urban policy of demolition and rebuilding amid London’s housing crisis and the polarisation between the city’s have-nots and have-lots.Drawing on extensive fieldwork and interviews with over 180 residents living in some of the capital’s most deprived areas, Watt shows the dramatic ways that estate regeneration is reshaping London, fuelling socio-spatial inequalities via state-led gentrification. Foregrounding resident experiences and perspectives both before and during regeneration, he examines class, place belonging, home and neighbourhood, and argues that the endless regeneration process results in degeneration, displacement and fragmented communities.

Examines the genesis of Ernest Newman's major publications in the context of prevailing intellectual trends in history, criticism and biography.Ernest Newman (1868-1959) left an indelible mark on British musical criticism in a career spanning more than seventy years. His magisterial Life of Richard Wagner, published in four volumes between 1933 and 1946, is regarded as his crowning achievement, but Newman wrote many other influential books and essays on a variety of subjects ranging from early music to Schoenberg. In this book, the geneses of Newman's major publications are examined in thecontext of prevailing intellectual trends in history, criticism and biography. Newman's career as a writer is traced across a wide range of subjects including English and French literature, evolutionary theory and biographical method, and French, German and Russian music. Underpinning many of these works is Newman's preoccupation with rationalism and historical method. By examining particular sets of writings such as composer-biographies and essays from leading newspapers such as the Manchester Guardian and the Sunday Times, this book illustrates the ways in which Newman's work was grounded in late nineteenth-century intellectual paradigms that made him a unique and at times controversial figure.PAUL WATT is Senior Lecturer in Musicology in the Sir Zelman Cowen School of Music at Monash University.

The Symphonic Poem in Britain 1850-1950aims to raise the status of the genre generally, and in Britain specifically, by reaffirming British composers' confidence in dealing with literary texts.The Symphonic Poem in Britain 1850-1950 aims to raise the status of the genre generally and in Britain specifically. The volume reaffirms British composers' confidence in dealing with literary texts and takes advantage of the contributors' interdisciplinary expertise by situating discussions of the tone poem in Britain in a variety of historical, analytical and cultural contexts. This book highlights some of the continental models that influenced British composers, and identifies a range of issues related to perceptions of the genre. Richard Strauss became an important figure in Britain during this time, not only in terms of the clear impact of his tone poems, but the debates over their value and even their ethics. A focus on French orchestral music in Britain represents a welcome addition to scholarly debate, and links to issues in several other chapters.The historical development of the genre, the impact of compositional models, issues highlighted in critical reception as well as programming strategies all contribute to a richer understanding of the symphonic poem in Britain. Works by British composers discussed in more detail include William Wallace's Villon (1909), Gustav Holst's Beni Mora(1909-10), Hubert Parry's From Death to Life (1914), John Ireland's Mai-Dun (1921), and Frank Bridge's orchestral 'poems' (1903-15).

This book offers a cross-national perspective on contemporary urban renewal in relation tosocial rental housing. Social housing estates – as developed either by governments (publichousing) or not-for-profit agencies – became a prominent feature of the 20th century urbanlandscape in Northern European cities, but also in North America and Australia. Manyestates were built as part of earlier urban renewal, ‘slum clearance’ programs especially inthe post-World War 2 heyday of the Keynesian welfare state. During the last three decades,however, Western governments have launched high-profile ‘new urban renewal’ programswhose aim has been to change the image and status of social housing estates away frombeing zones of concentrated poverty, crime and other social problems. This latest phaseof urban renewal – often called ‘regeneration’ – has involved widespread demolition ofsocial housing estates and their replacement with mixed-tenure housing developments inwhich poverty deconcentration, reduced territorial stigmatization, and social mixing of poortenants and wealthy homeowners are explicit policy goals. Academic critical urbanists, as well as housing activists, have however queried this dominantpolicy narrative regarding contemporary urban renewal, preferring instead to regard it asa key part of neoliberal urban restructuring and state-led gentrification which generate newsocio-spatial inequalities and insecurities through displacement and exclusion processes. Thisbook examines this debate through original, in-depth case study research on the processes andimpacts of urban renewal on social housing in European, U.S. and Australian cities. The bookalso looks beyond the Western urban heartlands of social housing to consider how renewal isoccurring, and with what effects, in countries with historically limited social housing sectors suchas Japan, Chile, Turkey and South Africa.

A pioneering work which delves into and reveals the links between music, moral instruction and social reform.This book discusses the role of music in programmes of personal improvement and social reform in nineteenth-century Britain. The pursuit of morality through music was designed not just to improve personal and communal character but to affect social change and transformation. The book examines the musical education of children, women and men through a variety of literature published for various educational settings including mechanics' institutes. It also considers the role of music in narratives of social programs and community-building projects that sought to promote utility, well-being and freedom from the strictures of Christianity as the dominant moral and cultural force. The first book to connect the threads between music, moral instruction and social reform across the educational life cycle in nineteenth-century Britain, it shows how these threads are found in unlikely places, such as games, manners books, economics treatises and short stories. It deftly illustrates the links between everyday life, popular culture and discourses of morality and social reform of the period.

This book offers a cross-national perspective on contemporary urban renewal in relation tosocial rental housing. Social housing estates – as developed either by governments (publichousing) or not-for-profit agencies – became a prominent feature of the 20th century urbanlandscape in Northern European cities, but also in North America and Australia. Manyestates were built as part of earlier urban renewal, ‘slum clearance’ programs especially inthe post-World War 2 heyday of the Keynesian welfare state. During the last three decades,however, Western governments have launched high-profile ‘new urban renewal’ programswhose aim has been to change the image and status of social housing estates away frombeing zones of concentrated poverty, crime and other social problems. This latest phaseof urban renewal – often called ‘regeneration’ – has involved widespread demolition ofsocial housing estates and their replacement with mixed-tenure housing developments inwhich poverty deconcentration, reduced territorial stigmatization, and social mixing of poortenants and wealthy homeowners are explicit policy goals. Academic critical urbanists, as well as housing activists, have however queried this dominantpolicy narrative regarding contemporary urban renewal, preferring instead to regard it asa key part of neoliberal urban restructuring and state-led gentrification which generate newsocio-spatial inequalities and insecurities through displacement and exclusion processes. Thisbook examines this debate through original, in-depth case study research on the processes andimpacts of urban renewal on social housing in European, U.S. and Australian cities. The bookalso looks beyond the Western urban heartlands of social housing to consider how renewal isoccurring, and with what effects, in countries with historically limited social housing sectors suchas Japan, Chile, Turkey and South Africa.

This edited book considers the impact of neoliberalism on music teaching, research and scholarship in a higher education context. As a subject that bears little resemblance to other university practical disciplines, and fares poorly in a model driven by economics, the book considers whether musicology is a ‘public good’ or a threatened species. It contemplates what musicology can usefully contribute to a paradigm driven by economics, and questions whether it is ever possible to recover an ideal civil subject in neoliberal music academia. Contributions investigate what it means to build music research capacity in innovative ways, such as forging cross-cultural relationships, subverting conventional notions of quality and value, replacing them with knowledges and values that guide Indigenous intellectual traditions, and whether interventions into the legacy of colonialism are truly ever possible in neoliberal higher education institutions that celebrate difference and diversitywhile reinforcing social inequities. The book also explores the relationships between gender and music, music research training and scholarship, and whether the interdisciplinarity championed by the university is ever workable. Finally, it undertakes a cross-disciplinary, new materialist reading of a canonical musical work, offering a radically new perspective. The book will appeal to students and scholars of music education, musicology, higher education studies and the creative arts more broadly.