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Introduction Notes Introduction 1 Alan Hamilton, "Gratitude, respect and pride," The Times (5 june 2002): 1. 2 See Charlotte Bronte's Shirley (1849); Charles Dickens's Barnaby Rudge (1841) and A Tale of Two Cities (1859); Benjamin Disraeli's Coningsby (1844) and Sybil (1845); George Eliot's Felix Holt, The Radical (1866). 3 Peter Walton, A Celebration of Empire: A Centenary Souvenir of the Diamond Jubilee of Queen Victoria 1837-1897 (Staplehurst: Spellmont, 1997) 19. 4 Raymond Whitaker, "Royal Pageant," Independent (5 June 2002): 5. 5 Francis Hueffer, Half a Century of Music in England, 1837-1887 (London: Chapman, 1889) 1. 6 Susan Bernstein, "On Music Framed: The Eolian Harp in Romantic Writing," The Figure of Music in Nineteenth-Century British Poetry, ed. Phyllis Weliver (Aldershot: Ashgate, 2005) 71. 7 Bernstein, "On Music Framed," 73. 8 For the "truism ... of Victorian labour history that the years which bridged the late Chartist movement and early socialism witnessed a fundamental discontinuity in the political development of the English working class" see Margot C. Finn, After Chartism: Class and nation in English radical politics, 1848-1874 (Cambridge: Cambridge University Press, 1993) 1. 9 Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993) 44-7. 10 Seyla Benhabib, "The Pariah and Her Shadow: Hanna Arendt's Biography of Rabel Varnhagen," Feminist Interpretations ofHanna Arendt, ed. Bonnie Honig (University Park: Pennsylvania State University Press, 1995) 94. 11 Benhabib, "Pariah," 97-8. 12 Benhabib, "Pariah," 98-9. 13 Benhabib, "Pariah," 101. 14 Seyla Benhabib, Situating the Self: Gender, community and postmodernism in con­ temporary ethics (New York: Routledge, 1992) 93. 15 Benhabib, "Pariah," 83-104; Hina Nazar, "The Imagination Goes Visiting: Jane Austen, Judgment, and the Social," Nineteenth-Century Literature, 59.2 (September 2004): 145-78. 16 Denise Riley, "Am I that Name?" Feminism and the category of"women" in his- tory (Minneapolis: University of Minnesota Press, 1988) 49. 17 Riley, "Am I that Name?" 50. 18 Riley, "Am I that Name?" 49. 19 Riley, "Am I that Name?" 51. 20 Christina Bashford, "Learning to Listen: Audiences for chamber music in early-Victorian London," Journal of Victorian Culture 4 (1999): 29-30, 34-5. 21 Anon., "A Concert," The Cornhill Magazine 1st ser. 5 (1862): 744-5; George Bernard Shaw, "High Society," Star (6 December 1889), rpt in G.B.S. on Music by George Bernard Shaw (Harmondsworth: Penguin, 1962) 59-60. 190 Notes 191 22 George Eliot, Daniel Deronda (1876), Cabinet edn., 3 vols (Edinburgh: Black­ wood, 1878) 3: 17. 23 Anthony Giddens, The Consequences ofModernity (Stanford: Stanford Univer­ sity Press, 1990) 1. 24 Giddens, Consequences, 1. 25 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread ofNationalism (1983), rev. edn. (London: Verso, 1991) 7. 26 John Plotz, The Crowd: British Literature and Public Politics (Berkeley: Univer­ sity of California Press, 2000) 118. 27 Leonore Davidoff and Catherine Hall, Family Fortunes: Men and Women of the English Middle Class, 1780-1850 (London: Hutchinson, 1987) 156. 28 Giddens, Consequences, 7. Original emphasis. 29 Giddens, Consequences, 7-9. 30 For metanarrative (master narrative), seeJean-Fran~ois Lyotard, The Postmodem Condition: A report on knowledge (1979), trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1984) xxiii-xxv. 31 Michel Foucault, Discipline and Punish: The Birth of the Prison (1975), trans. Alan Sheridan (New York: Vintage, 1995). 32 Niklas Luhmann, Observations on Modernity (1992), trans. William Whobrey (Stanford: Stanford University Press, 1998) 7; Luhmann, "I See Something You Don't See," trans. Joseph O'Neil and Elliott Schreiber, Theories ofDistinction: Redescribing the Descriptions ofModernity, ed. William Rasch (Stanford: Stanford University Press, 2002) 189. 33 Luhmann, Observations, 19. 34 Jiirgen Haberrnas, "The Public Sphere," New German Critique 3 (1974): 49. Cited in Geoff Eley, "Nations, Publics, and Political Cultures: Placing Habermas in the Nineteenth Century," Habermas and the Public Sphere, ed. Craig Calhoun (Cambridge, Massachusetts: MIT Press, 1992) 290. 35 Gunther Lottes, Politische Aufkliirung und plebejisches Publikum: Zur Theorie und Praxis des englischen Radikalismus in spiiten 18, Jahrhundred (Munich, 1979) 337, referenced in Eley, "Nations," 328-9. 36 Davidoff and Hall, Family Fortunes, 419. 37 John Brewer, "Commercialization and politics," The Birth ofa Consumer Sodety: The Commerdalization of Eighteenth-Century England, eds Neil McKendrick, John Brewer andJ.H. Plumb (1982; London: Hutchinson, 1983) 219. Brewer's sources are the Northampton Mercury (11 September 1732) and A Collection of Freemason's Songs (London, 1904) 30-2. 38 Plotz, Crowd, 10. 39 Eley, "Nations," 326. 40 Benhabib, Situating, 108-09. 41 Plotz, Crowd, 10. 42 Plotz, Crowd, 41-2. 43 Eley, "Nations," 291. 44 Emma Sutton, Aubrey Beardsley and British Wagnerism in the 1890s (Oxford: Oxford University Press, 2002) 101. 45 Christina Bashford, "Not Just 'G.': Towards a History ofthe Programme Note," George Grove, Music and Victorian Culture, ed. Michael Musgrave (Basingstoke: Palgrave Macmillan, 2003) 133; Catherine Dale, Music Analysis in Britain in the Nineteenth Century (Aldershot: Ashgate, 2002) 48. 192 Notes 46 Bashford, "G," 135 n8. 47 Bashford, "G," 117, 124-5. 48 Christina Bashford, "Listen," 25. 49 Cyril Ehrlich, The Music Profession in Britain since the Eighteenth Century: A Sodal History (Oxford: Clarendon, 1985) 51. 50 Cyril Ehrlich, The Piano: A History (London: Dent, 1976) 94. 51 Bashford, "Listen," 36, 41. 52 Anon., "English Audiences," Musical Times 26 (1 September 1885): 526, 527 [hereafter MT]. 53 J.S. Curwen, editorials, The Musical Herald 571 (October 1895): 304. My thanks to Charles McGuire for this dtation. 54 For a discussion of working-class culture as continuing after 1850, but being "flattened out" or losing its spirit, see Frands Hearn, Domination, Legitimation, and Resistance: The incorporation of the nineteenth-century English working class (Westport: Greenwood, 1978) 231-65. For upper-class conversation about the music during the interval, see Bashford, "Listen," 35-6; Bashford, "John Ella and the Making ofthe Musical Union," Music and British Culture, 1785-1914: Essays in honour of Cyril Ehrlich, eds Christina Bashford and Leanne Langley (Oxford: Oxford University Press, 2000) 209. 55 Morning Chronicle (28 January 1847), dted in Bashford, "Listen," 35. 56 Bashford, "Listen," 30. 57 The "two nations" are further subdivided in Sybil into competing factions. There are two types of laboring people depicted: the rational who attempt to strike peacefully and those described in bestial terms who engage in unthink­ ing mob violence. See Benjamin Disraeli, Sybil: or The 1Wo Nations (1845; London: Penguin, 1980). 58 Anon., "Sims Reeves, the encore nuisance and audience behaviour at a ballad concert in Liverpool," MT 17 (1 July 1875): 137. See also Anon., "Audience behavior at Sims Reeves' ballad concert, Oxford," MT 13 (1 January 1869): 639; Anon., Letter, The Tonic Sol-fa Reporter Oanuary 1865): 4; "Haslingden Mechanics' Institution," Blackburn Standard (10 January 1847), rpt in C. Aspin, Haslingden 1800-1900 (Haslingden: n.p., 1962) 169-70. 59 Dave Russell, Popular Music in England, 1840-1914: A Social History (Manchester: Manchester University Press, 1987) 17, 22-4. "Sight-singing mania" appears to be Russell's own term (22). 60 Russell, Popular Music, 24. 61 In fixed doh, the syllable "doh" always designates the note "c" while in move­ able doh, "doh" is given to the tonic or first note of the scale. Therefore, in the key of C Major or c minor, "doh" would be "c," but in A major or a minor, "doh" would be "a," in D Major or d minor, "doh" would be "d," etc. 62 J.S. Curwen, Music at the Queen's Accession: A paper read before the Society of Arts, March 17th, 1897 (London: Curwen, 1897) 15. 63 Russell, Popular Music, 26. 64 David Vincent, Literacy and Popular Culture: England 1750-1914 (Cambridge: Cambridge University Press, 1989) 282-3. Referenced in Helen Small, "A Pulse of 124: Charles Dickens and a pathology of the mid-Victorian reading public," The Practice and Representation ofReading in England, eds James Raven, Helen Small and Naomi Tadmor (Cambridge: Cambridge University Press, 1996) 273-4. Notes 193 65 J.S. Curwen, The Story ofTonic Sol-fa, lOth edn. (London: J. Curwen and Sons, [1891]) 3. 66 J.S. Curwen, Story, 4. 67 J.S. Curwen, Story, 5, 8, 10, 22. 68 J.S. Curwen, Story, 8. 69 Charles McGuire, "Music and Morality: Temperance, Tonic Sol-Fa and Elgar's The Dream of Gerontius," Chorus and Community, ed. Karen Ahlquist (Urbana: University of Illinois Press, 2006). 70 W.H. Cummings' comments on W.G. McNaught "The Psychology of Sight­ Singing," Proceedings ofthe Musical Association 26 (1899-1900): 52. My thanks to Charles McGuire for this citation. 71 William Weber, Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna (London: Croom Helm, 1975) 25-6. 72 William Weber, "Did People Listen in the 18th Century?" Early Music 25 (1997): 689. 73 Alison Winter, Mesmerized: Powers of Mind in Victorian Britain (Chicago: University of Chicago Press, 1998) 329. 74 Athena Vrettos, Somatic Fictions: Imagining fllness in Victorian Culture (Stanford: Stanford University Press, 1995) 96--7. 75 Winter, Mesmerized, 320-2. 76 Small, "Pulse," 269-75. 77 Ada Nield Chew, "A Living Wage for Factory Girls at Crewe," Crewe Chronicle (5 May 1894) n.p. Rpt in The Life and Writings ofAda Nield Chew, remembered and collected by Doris Nield Chew (1945; London: Virago, 1982) 75-6. 78 Wilkie Collins, "The Unknown Public," Household Words 18 (August 21, 1858) 217. I am indebted to Helen Small's "A Pulse of 124" for this source. 79 Collins, "Unknown," 222. 80 Small, "Pulse," 278. 81 The Athena!Um (20 August 1853): 996. 82 Samuel Taylor Coleridge, The Statesman's Manual: or The Bible the Best Guide to Political Skill and Foresight, A Lay Sermon, Addressed to the Higher Classes ofSociety (1816), rpt in The Collected Works of Samuel Taylor Coleridge, VI, Lay Sermons, ed.
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