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This is the first book to detail the musical and cultural significance of the songster.
List of contents
1. The nineteenth-century songster: recovering a lost musical artefact Paul Watt, Derek B. Scott and Patrick Spedding; Part I. Production, Function and Commerce: 2. American secular songsters in the nineteenth century: an overview Norm Cohen; 3. The prefaces to songsters: the law, aesthetics, performers and performance Paul Watt; 4. The genesis of Thomas Moore's Irish Melodies, 1808-34 Sarah McCleave; Part II. Politics: 5. The US Presidential campaign songster, 1840-1900 Derek B. Scott; 6. Friendship, cosmopolitan connections and late Victorian socialist songbook culture Kate Bowan; 7. 'Confound their politics': the political uses of God Save the King-Queen Paul Pickering; 8. Charles Robert Thatcher's songsters: politics on the goldfields of Victoria, Australia Mark Pinner; Part III. Nation, Place and Purpose: 9. Rethinking the songster and national-cosmopolitan identity in Lowland Scotland, c.1787-1830 Andrew Greenwood; 10. The blackface songster in Britain Michael Pickering; 11. Popular songsters and the British military: the case of The Girl I Left Behind Me Anthea Skinner; 12. Australian songsters and the Australian folk song movement Graeme Smith.
About the author
Paul Watt is a senior lecturer in musicology at Monash University, Victoria. His previous books include Bawdy Songbooks of the Romantic Period (edited with Patrick Spedding, 2011) and Joseph Holbrooke: Composer, Critic, and Musical Patriot (edited with Anne-Marie Forbes, 2015). His articles have been published in the Royal Musical Association Research Chronicle, Nineteenth-Century Music Review, Music and Letters and Musicology Australia. With funding from the Australian Research Council, he is writing a critical biography of Ernest Newman and a history of the reform and regulation of music criticism in late nineteenth-century England.Derek B. Scott is Professor of Critical Musicology at the University of Leeds. His books include From the Erotic to the Demonic (2003), Sounds of the Metropolis (2008), and Musical Style and Social Meaning (2010). Since March 2014, with the aid of a major award from the European Research Council, he has been researching the reception of twentieth-century German operetta in London and New York.Patrick Spedding is a lecturer in literary studies and Associate Director of the Centre for the Book at Monash University, Victoria. His current research is divided between the publication and reception of Eliza Haywood's works and the authorship and publication of eighteenth-century erotica, the subject of his Australian Research Council Postdoctoral Fellowship. His articles have been published in Eighteenth-Century Fiction, Eighteenth-Century Studies, Studies in Philology, Book History and The Papers of the Bibliographical Society of America.
Summary
This book is essential reading for scholars and students who want to understand how songs functioned, were consumed and transmitted around the world from around 1790 to 1910.
