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Music, Libraries, and the Academy
This collection of articles dedicated to the memory of Lenore Coral divides into three sections that focus on her scholarly interests: music of the eighteenth century, music libraries and collections, and new approaches to the musical canon. Many of the seventeen contributions included in the volume are the result of the individual author's connection with Lenore, or were projects that she had been directly involved with, either as dissertation advisor, committee member, or interested observer. The senior scholars and music librarians represented here are testament to the impact of her intellect and influence.
Leslie Stuart
Leslie Stuart (1864-1928) was a British songwriter best remembered as the composer of the hit show, Florodora. He began writing popular songs as a teenager, first for blackface and vaudeville performers, and eventually for more "legitimate" shows and revues. Florodora (1899), written in collaboration with London's most fashionable librettist, Owen Hall, was a musical-comedy sensation. Its combination of the traditional slow love ballads and waltzes with more rhythmic and long-lined numbers made it a worldwide success. He continued to compose through the first decade of the 20th century, laying the groundwork for the coming innovations in British and American musical theater.
The Business of Music
Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? In the eleven essays contained in this book the authors wrestle with these questions from the perspective of their chosen area of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers and pedagogues to managers, publishers and lawyers; from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.
A Social History of Amateur Music-Making and Scottish National Identity: Scotland’s Printed Music, 1880–1951
Late Victorian Scotland had a flourishing music publishing trade, evidenced by the survival of a plethora of vocal scores and dance tune books; and whether informing us what people actually sang and played at home, danced to, or enjoyed in choirs, or reminding us of the impact of emigration from Britain for both emigrants and their families left behind, examining this neglected repertoire provides an insight into Scottish musical culture and is a valuable addition to the broader social history of Scotland. The decline of the music trade by the mid-twentieth century is attributable to various factors, some external, but others due to the conservative and perhaps somewhat parochial nature of t...
