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Recapitulation and the musical education of Victorian children: The Child’s Pianoforte Book (1882) by H. Keatley Moore
No full textAll Arts Aspire to the Condition of Musicology: Victorian Musicology as Interdiscipline
Get PDFThis chapter traces the idea of an interdiscipline to Walter Pater’s famous adage ‘All art constantly aspires to the condition of music’. It utilizes Pater’s idea to identify the origin of Victorian musicology not as a discipline, but as an interdiscipline. According to the rules of anderstreben all art aspires to the condition of music because music is the only art that successfully collapses matter and form. In the construction of their interdiscipline Victorian musicologists, like Pater, would adopt ekphrasis as a methodological practice and anderstreben as a theoretical belief. For one thing Victorian musicologists struggled to understand and explain music’s purpose without reference to other disciplines, and in some instances disciplines like anthropology and theology seemed to hold mutually contradictory opinions, even if voiced through the same musicologist. The Victorian musicological subject defined himself or herself within a matrix of three intersecting areas of socio-cultural development: professionalization, education, and popularization
Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley
No full textTrial by Dining Club: the Instrumental Music of Haydn, Clementi and Mozart at London's Anacreontic Society
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Benefit Concert in Nineteenth-Century London: From 'tax on the nobility' to 'monstrous nuisance'
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