Amateur Musicians in the Nineteenth Century

Nyhet

Markets, Practices, and Identities

Inbunden, Engelska, 2026

2 329 kr

Kommande

By carefully piecing together musical and documentary evidence, Amateur Musicians in the Nineteenth Century reveals the musicians that have so far been largely invisible in histories of music.Musical amateurs occupy an indistinct, low-status, peripheral place in musical life today. Often defined by what they are not and compared unfavorably to professionals, amateurs are found to lack expertise, qualifications, and status. This book critiques these exclusionary ideologies, interrogating the historical amateur as a clear identity, role, and status within musical life.The focus of this edited collection spans across Europe and out to New Zealand and Australia, covering a wide range of repertoire and genres and providing a comprehensive survey of amateur music-making and its significance in the broader musical culture of the nineteenth century. Rather than being opposed to professionals, amateurs were considered to overlap with them in terms of skill. Far from learning by rote a narrow selection of canonical studies and works, such amateurs cross-trained on various instruments, freely adapted popular tunes to their own purposes and skills, improvised on scores, and composed afresh. In not just an exploration of the past, but of the future, Amateur Musicians in the Nineteenth Century offers insights that are relevant today, particularly to the project of raising the status of amateurism in the best sense.

Produktinformation

Utgivningsdatum2026-04-30
Mått152 x 229 x 28 mm
Vikt503 g
FormatInbunden
SpråkEngelska
Antal sidor288
FörlagBloomsbury Publishing Plc
ISBN9798765164457

Tillhör följande kategorier

Klassisk musik, konstmusik och orkestermusik inom Kultur
Musikhistoria inom Kultur
Musikvetenskap inom Kultur

Nancy November is Professor of Musicology in the University of Auckland's School of Music, New Zealand. Combining interdisciplinarity and cultural history, her research centers on chamber music of the late eighteenth and nineteenth centuries, probing questions of historiography, canonization, and genre. She is the recipient of a Humboldt Fellowship (2010-12); and three Marsden Grants from the New Zealand Royal Society. Recent books include Opera in the Viennese Home from Mozart to Rossini (2024) and Haydn Studies 2 (2025). Imogen Morris is a post-doctoral fellow and instrumental teacher at the University of Auckland, Australia, where she recently completed her PhD. Her research interests include recorder performance, history, repertoire, and pedagogy; Historically Informed Performance; and Creative Practice Research. As a performer, Imogen is active both as a soloist and in a variety of ensemble settings, and has performed in Germany, Austria, and South Korea as well as her native New Zealand. Outside of her researching and teaching commitments at the university, she teaches recorder to students of all ages and coaches recorder ensembles across Auckland.

List of IllustrationsList of TablesIntroductionPart I — Markets: Arrangement, Repertoire, and the Amateur Musical Economy1. Haydn Appropriated: Two Manuscript Songs in Amateur Collections 1790–1805Gillian Dooley (Flinders University Library, Australia)2. Evocations of Scotland in the Accompanied Sonatas of Pleyel and KoželuhAllan Badley (University of Auckland, Australia)3. “Un caractère tout à fait classique”: Parisian Practices of Arrangement and the Domestic Debt to the PastMark Everist (University of Southampton, UK)4. “Germanizing” the Plot? Arrangements of “Foreign” Opera in Early Nineteenth-Century ViennaSam Girling (Trinity College of Music, UK)5. The Romantic Recorder: An Exploration of Performance Practice for Csakan RepertoireImogen Morris (University of Auckland, Australia)Part II — Practices: Pedagogy, Performance, and Amateur Agency6. “Those Who Can, Teach”: Promoting Amateurs in Nineteenth-Century Piano PedagogyAndrew Ward (Independent Scholar, UK)7. Johann Baptist Wa?hal’s Legacy as Keyboard PedagogueHalvor K. Hosar (Norwegian Institute for Cultural Heritage Research, Norway)8. “An Impress of the Abiding Truth”: The Problem with Classifying Amateurs, Professionals, and Artists in Kate Chopin’s The Awakening (1899)Erin Atchison (Independent Scholar, New Zealand)9. The Harp Virtuoso Marie Mösner (1838–84): Professional Performer, Non-Professional Composer?Anja Bunzel (Czech Academy of Arts and Sciences, Czechia)Part III — Identities: Community, Gender, and Cultural Belonging10. “A Small Radiating Centre”: New Zealand Amateur Pianists EntertainKirstine Moffat (University of Waikato, New Zealand)11. A Lady Always Looks Graceful with a Violin: The Auckland Young Ladies’ Orchestra 1888–99Elizabeth Nichol (Independent Scholar, New Zealand)12. “Half German and Half Colonial”: Building Community in Wellington’s Liedertafeln ca. 1900Samantha Owens (Independent Scholar, New Zealand)List of ContributorsIndex