By Paul Rodmell
In nineteenth-century British society song and musicians have been geared up as that they had by no means been prior to. This association used to be manifested, partially, by way of the creation of track into robust associations, either out of trust in music's inherently gains, and likewise to advertise track occupations and professions in society at huge. This booklet presents a consultant and sundry pattern of the interactions among tune and companies in quite a few destinations within the nineteenth-century British Empire, exploring not just how and why song was once institutionalized, but in addition how and why associations grew to become 'musicalized'. person essays discover beginner societies that promoted music-making; associations that performed host to music-making teams, either novice undefined; song in varied academic associations; and the relationships among tune and what may be known as the 'institutions of state'. via the entire essays runs the topic of many of the ways that associations of various formality and pressure interacted with song and musicians, and the mutual profit and exploitation that resulted from that interplay.
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Additional resources for Music and Institutions in Nineteenth-Century Britain
IT, 31 October 1888. A season’s costs were usually around £1,000: £300 a concert, and £100 for the conductor. Deficits ranged from £60 to £70 in the 1880s to between £118 and £144 in the early 1890s (IT, 14 December 1888; IT, 4 January 1890; IT, 20 June 1893; IT, 9 February 1892). 90 IT, 22 May 1883; IT, 7 September 1883; IT, 24 November 1883; IT, 27 May 1886. 91 IT, 7 September 1883. 92 IT, 24 March 1883; [Dublin Musical Society Concert Programme], 22 March 1888, Dublin City Library & Archive, Irish Collection.
2). 22. 26 IT, 12 December 1860. 27 IT, 3 February 1873. 28 IT, 7 December 1874. 29 The Philharmonic Society was renowned for its engagement of distinguished foreign solo performers. 32 It was surely a difficult situation to balance: engaging foreign artists attracted large audiences and added a certain éclat to proceedings that local artists would not. In addition, the individual foreign artists also brought new repertoires to Dublin audiences. H. 102). 30 IT, 19 January 1860; FJ, 5 February 1844; SN, 24 April 1844; FJ, 5 December 1861; IT, 25 May 1865; FJ, 25 November 1872; SN, 6 June 1843.
118. 49 Ibid. 50 Ibid. 51 FJ, 6 April 1876. 52 He formed the Antient Concert Society in 1834, which existed for 30 years. 55 This was the prelude to the official foundation of the DMS on 7 November. The programme for the society’s second concert on 29 April 1876 is the earliest extant. It declared the society’s intentions as follows: Since the dissolution of the Ancient Concert Society some eight years ago, the performance in Dublin of Oratorios, and other great choral music of this class has been occasionally produced and received by the public so as to show that the taste for it is not entirely extinct.