The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century

Paul Watt is Associate Professor of Musicology at Monash University, Melbourne. He has published widely on the musical, cultural, intellectual, and religious history of the nineteenth century in journals such as Music & Letters, Musicology Australia, Nineteenth-Century Music Review, the RMA Research Chronicle, and the Yale Journal of Music & Religion. He is the author of Ernest Newman: A Critical Biography (2017) and The Regulation and Reform of Music Criticism in Nineteenth-Century England (2018). He is a contributor to The Oxford Handbook of Opera (2014), The Cambridge History of Music Criticism (2019), The Cambridge History of Atheism (2020), and The Routledge Handbook of Street Culture (2020).Sarah Collins is Associate Professor of Musicology at the University of Western Australia. She is the author of Lateness and Modernism: Untimely Ideas about Music, Literature and Politics in Interwar Britain (2019), and The Aesthetic Life of Cyril Scott (2013), as well as the editor of Music and Victorian Liberalism: Composing the Liberal Subject (2019). Her work has appeared in journals including the Journal of the Royal Musical Association, Twentieth-Century Music, Music & Letters, and Musical Quarterly.Michael Allis is Professor of Musicology at the University of Leeds, UK. He is the author of Parry's Creative Process (2003) and British Music and Literary Context: Artistic Connections in the Long Nineteenth Century (2012), and has edited the music criticisms of Aldous Huxley (2013) and selected letters of Granville Bantock (2017) - which won the 2018 C.B. Oldman Award. He has published widely on music/literature connections and British music of the nineteenth and early twentieth century (Bantock, Bax, Elgar, Holbrooke, Parry, Stanford, Warlock), and is on the Editorial Board of the Journal of Victorian Culture.

• Introduction: Music and Intellectual Culture in the Nineteenth CenturyPaul Watt, Sarah Collins, and Michael AllisPart I: TEXTS AND PRACTICES1. History, Historicism, HistoriographyKevin Karnes 2. CriticismNoel Verzosa3. Figures and Forms of Analysis PracticeRémy Campos4. Biography and Life-WritingChristopher Wiley 5. Travel WritingMichael Allis 6. Philosophy and AestheticsLawrence Kramer 7. Fiction and PoetryMichael Halliwell8. EphemeraCatherine MassipPart II: NETWORKS AND INSTITUTIONS9. Newspapers, Little Magazines, and AnthologiesPaul Watt 10. Learned Societies, Institutions, Associations, and ClubsJeremy Dibble11. Churches and Devotional PracticeMartin Clarke12. Libraries and ArchivesMatthias Lundberg13. Universities and ConservatoriesPeter Tregear 14. The Concert SeriesSimon McVeigh Part III: DISCOURSES15. Musical CanonsWilliam Weber16. Landscape and EcologyDaniel M. Grimley17. The National and the UniversalSarah Collins18. Science and ReligionBennett Zon19. Popular Song and Working-Class CultureGillian M. Rodger20. EmotionsMichael Spitzer21. Time and TemporalityBenedict Taylor22. EthicsTomas McAuley23. Music Scholarship and DisciplinarityMichel Duchesneau

Perhaps most crucially, the centering of social and cultural histories of music from an international perspective in a handbook of this scope and status benefits both musicology and history, offering and legitimizing exciting new directions for both.