Music by Subscription
Composers and their Networks in the British Music-Publishing Trade, 1676–1820
- Available for pre-order. Item will ship after December 31, 2021
This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music’s social spheres, the emergence of music publishing, and the potential of digital musicology research.
Table of Contents
Chapter 1. Introduction
Section 1. The Production of Musical Works by Subscription
Chapter 2. Thomas Mace and the Publication by Subscription of Musick’s Monument (1676). Stephanie Carter
Chapter 3. Cecilia Maria Barthélemon’s Three Sonatas, Op 1. Michael Kassler
Chapter 4. Maria Hester Park and her Subscribers. Lise Karin Meling
Chapter 5. Publishing Music by Subscription in Eighteenth-Century Edinburgh: John Watlen and his Collections of Circus Tunes. Simon D. I. Fleming
Chapter 6. William: Thethe . Simon D. I. Fleming
Section 2. The Consumption of Music Published by Subscription
Chapter 7. Gentry, Servants and Musicians: A Network of Subscribers in North-East England. Roz Southey
Chapter 8. The Music-Making of the Bridgeman Family, Weston Park. Martin Perkins
Chapter 9. A Big Data Study: Musical Societies in Subscription Lists. Simon D. I. Fleming and Martin Perkins
Chapter 10. Strathspeys, Reels and Instrumental Airs: A National Product. Karen E. McAulay
Chapter 11. Profiting from the Slave Economy and Subscribing to Music: the British Experience in the Eighteenth Century. David Hunter
Chapter 12. Foreign Composers, the Subscription Market, and the Popularity of Continental Music in Eighteenth-Century Britain. Simon D. I. Fleming
Simon D.I. Fleming holds a PhD in music from Durham University, where he teaches in the Department of Music.
Martin Perkins holds a PhD from the Royal Birmingham Conservatoire, where he lectures in music history, theory, and performance.