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Deters2017.Pdf This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. THE IMPACT OF THE SECOND WORLD WAR ON THE BRITISH PIANO INDUSTRY by Sarah Katherine Deters A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music The University of Edinburgh 2017 ii Abstract/Lay Summary The war effort of the United Kingdom and the subsequent restrictions and laws enforced by the Government during the Second World War time period had a significant impact on the British piano industry. The skilled work force, factories, and raw materials previously used to produce pianos became integral to the war effort, while production of non- necessities and luxury items, such as pianos, was limited and eventually ceased. In order to limit production and divert material and labour to the war effort, debilitating restrictions, company consolidation, and prohibitive taxation came into effect. This forced many piano manufacturers to seek out war production contracts, while those who were not able to secure these contracts had to relinquish their factories and employees, rely on revenue from repair work, or completely close down during the war years. This thesis is the first extensive study of the impact of the Second World War on the British piano industry. Through an examination of the laws and regulations passed by the British Government during and immediately following the war years, a better understanding of the war’s effect on the entire industry will be established and a timeline of the various restrictions placed on piano manufacturing will be presented. This timeline highlights (1) the Government’s desire to stop piano manufacturing in order to divert labour and materials to the war effort, (2) the effect of Government restrictions on the piano industry, (3) the industry’s struggle to convert to war work, and (4) the impact of the war in the post-war years. Archival documents from both the piano industry and the Board of Trade elucidate the difficult situation faced by the industry and the effort of the Government both to stop piano production and to help the industry restart in the post-war era. The goal of the paper is to show the lasting effects of the war on the British piano industry and to argue that the British Government’s treatment of the piano industry during the war era hastened its eventual demise. iii iv Declaration I declare that this thesis submitted for the degree of Doctor of Philosophy in Music is entirely my own work, written and researched for the purpose of this degree, and has not been submitted for any other degree or professional qualification. Sarah Katherine Deters 24 February 2017 v vi Acknowledgements I would like to express my appreciation to the following people and institutions whose assistance and guidance has made this study possible. To St Cecilia’s Hall at The University of Edinburgh; without this institution I would have never moved to Scotland. To the Principal Careers Development Scholarship, which made it possible for me to study at the University of Edinburgh. To my thesis advisor Dr. Darryl Martin for his support and encouragement throughout my PhD process. To my colleagues at Musical Instrument Museums Edinburgh who have encouraged and helped me juggle both working and studying: Jacky MacBeath who has been a wonderful boss throughout my career at the University; Dr. Jenny Nex for all of the laughs, understanding, and the compassionate ear; Dr. Arnold Myers for his wealth of knowledge of British instrument manufacturing. To my colleagues and friends at the Centre for Research Collections, in particular Clare Button, Neil Lebeter, and Malcolm MacCallum. Thank you for listening to my complaining during tea breaks and for asking me “how it was going” even when my dissertation was the last thing I ever wanted to talk about. Also, thank you for dragging me out for “just one” even though we all knew it was a lie. To my amazing friends whom I met after moving to Scotland, including Katerina Mitka, Shannon Rollins, Marc Eischeid, Emily Peppers, Eimear Deady, Romesh Palamakumbra, Lis Gernard, John Webster, Caroline Mair, and Devon McHugh. Many of you have been with me throughout this journey and I thank you for keeping me sane along the way. Thank you to the staff of the Surrey History Centre, Hackney Archives, British Library and National Archives, Kew, who helped me to find the archives and information that made this thesis possible and to Ralph Steiner, operations directors of the de Havilland Aircraft Museum, for answering a barrage of question. Also, thank you to Denzil Jacobs, former director of Kemble and Company, who took a phone call from me out of the blue and spent much of his time talking to me about the British piano industry. I wish I could have met you and given you the picture that I had promised. To my parents, Bill and Kathy, who have always supported me in everything I do and have encouraged me to be an independent person and thinker. Thank you to Rob, Amy, and Theresa – my siblings and original posse; and now to Rodolfo, Elsa, Dora, Ulrich, Veronica, Walter, Didanwee, Mike, and Audrey – my life is enriched because today I am honoured to call you my family. Also to Harley, the “George Clooney of boxers.” The love of a dog cannot be measured until his absence is felt. Lastly, to Jonathan, my biggest cheerleader, my best friend, and my husband. I could not have done this without you. You encouraged me to move to Scotland and pursue my degree and without your love this never would have happened. Always remember that no matter what, we are in this together and we make a great team. vii viii Conventions The study period of this thesis predates the introduction of decimal currency in Britain in 1971. Monetary figures quoted from primary sources and other historic documents use the old system of currency; pounds (£); shillings (s), and pence (d). In this system there were 20 shillings to the pound; 21 shillings to the guinea; 12 pence to a shilling or 240 pence to the pound. Measurements are primarily given in the imperial system as this study predates the switch to metric in Britain in 1995. Measurements include feet (ft or ') and inches (in or ") for length, gallons for volume, and pounds (lbs) and ounces for weight. During the study time of this thesis the United Kingdom controlled to varying degrees 30% of the world’s land mass through its numerous crown colonies, protectorates, and the Indian Empire. In addition, the United Kingdom maintained political ties to four dominions: Australia, Canada, South Africa, and New Zealand, which were called the “Commonwealth” after 1926. This thesis uses the term “empire” when referring to the United Kingdom and all associated countries and territories. Commonwealth is used when referring to dominion countries. Although historical documents and primary source material used for this study sometimes use the terms “empirical states,” and “empirical preference countries,” this thesis uses the term Commonwealth because the countries referred to in the archival documents were dominion countries and therefore members of the Commonwealth. Although modern conventions often use the term pianoforte to distinguish an early piano (meaning one without an iron plate) from a modern instrument; this thesis uses the term piano throughout. For the purpose of this study, the term “piano industry” refers to the manufacturers of pianos and piano parts. The term does not include piano merchants, dealers, repairers, or tuners, although references to these facets of the music trades are occasionally included, particularly in the investigation of the effects of the Purchase Tax. References to the National Archives in this thesis refer to the archives at Kew. Documents sourced from the National Archives, U.S.A. are designated as such. ix x Contents Introduction .................................................................................................................. 1 Chapter 1: History of the British Piano Industry ....................................................... 10 Development of the British Piano Industry ........................................................... 15 Expansion and Innovation: Nineteenth-Century Piano Trade in London .............. 15 The British Piano Industry at the Turn of the Twentieth Century ......................... 31 World War I: the First Mobilised British Economy .............................................. 32 Post-War and the Inter-War Years ......................................................................... 35 Chapter 2: Mobilisation for War ................................................................................ 43 Beginning of Mobilisation ....................................................................................
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