English Musical Life—A Symposium (V)

Abstract

From the middle of the nineteenth century studies in the History of Music developed on a scholarly basis all over Europe. The purely aæthetic approach to works of art gave way, with the development of historical methods, to the historical approach which included aesthetic appreciation within itself and placed it on a sound basis. Works of remote periods were no longer judged by merely contemporary standards. They were brought into the right context and the range of accessible music immeasurably enlarged.

‘Who Is British Music?’ Placing Migrants in National Music History

“…Only one of them, Handel, was an immigrant. As Tom Western shows in his contribution, such seemingly innocuous editorial decisions matter, 16 Richard Farmer, Cinema and Cinemagoing in Wartime Britain: The Utility Dream Palace (Manchester: Manchester University Press, 2016); Sarah Street, British National Cinema (London: Routledge, 2009); Tobias Hochscherf, The Continental Connection: Germanspeaking Émigrés and British Cinema, 1927-1945(Manchester: Manchester University Press, 2011; Kevin Gough-Yates, Somewhere in England: British Cinema and Exile (London: IB Tauris, 2000); Tim Bergfelder and Christian Cargnelli, eds, Destination London: German-Speaking Émigrés andBritish Cinema, 1925-1950 (Film Europa 6). (Oxford/New York: Berghahn, 2008).…”