The Illingworth Moor Singers' Book: A Snapshot of Methodist Music in the Early Nineteenth Century

2010 ◽  
Vol 7 (1) ◽  
pp. 81-103
Author(s):  
Martin V. Clarke
Keyword(s):  
Nineteenth Century ◽  
Central Place ◽  
John Wesley ◽  
Methodist Church ◽  
Congregational Song ◽  
Local Practices ◽  
History Of ◽  
Mount Zion ◽  
And Performance ◽  
Insight Into

Congregational song occupies a central place in the history of Methodism and offers an insight into the theological, doctrinal, cultural and educational principles and practices of the movement. The repertoire, performance styles and musical preferences in evidence across Methodism at different points in its history reflect the historical influences that shaped it, the frequent tensions that emerged between local practices and the movement's hierarchy and the disputes that led to a proliferation of breakaway groups during the nineteenth century. The focus of this article will be the implicit tension between the evidence of local practice contained within the Illingworth Moor Singers' Book, which forms part of the archives at Mount Zion Methodist Church and Heritage Centre, near Halifax, UK, and the repertoire and performance practice advocated by John Wesley in the latter part of the eighteenth century. While the study of a single, locally produced collection cannot be regarded as representative of wider practices, it is nonetheless useful in highlighting the need for a more nuanced approach to the history of Methodist music, which takes account of local circumstances and practices.

The Methodist Quest for an Educated Ministry

1982 ◽  
Vol 51 (3) ◽  
pp. 304-320
Author(s):  
Dale A. Johnson
Keyword(s):  
Great Britain ◽  
Formal Education ◽  
John Wesley ◽  
Methodist Church ◽  
History Of ◽  
Insight Into

Recent studies of English Methodism have called attention to the importance of the doctrine of the ministry and its evolution for the understanding of the Methodist tradition. Chief among these are John C. Bowmer's Pastor and People and the first two volumes of the new History of the Methodist Church in Great Britain. Each of these studies cites the evolution of the pastoral office, from its roots in John Wesley to its culmination under Jabez Bunting, as one of the distinguishing marks of the Wesleyan tradition. But while they mention the beginnings of formal education for ministry during this period, they do not attempt to gain insight into the understanding of ministry within Wesleyan Methodism that these foundations can provide. It is my intention in this paper to explore these connections and to encourage further investigation into related matters that could prove fruitful for our understanding of this tradition.

scholarly journals The Materiality of English Suicide Letters, c. 1700 – c. 1850

2021 ◽  
pp. 1-28
Author(s):  
Ella Sbaraini
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Emotional Distress ◽  
History Of Emotions ◽  
Social Lives ◽  
Writing Practices ◽  
The Poor ◽  
The Press ◽  
History Of ◽  
Insight Into

Abstract Scholars have explored eighteenth-century suicide letters from a literary perspective, examining issues of performativity and reception. However, it is fruitful to see these letters as material as well as textual objects, which were utterly embedded in people's social lives. Using thirty manuscript letters, in conjunction with other sources, this article explores the contexts in which suicide letters were written and left for others. It looks at how authors used space and other materials to convey meaning, and argues that these letters were epistolary documents usually meant for specific, known persons, rather than the press. Generally written by members of the ‘lower orders’, these letters also provide insight into the emotional writing practices of the poor, and their experiences of emotional distress. Overall, this article proposes that these neglected documents should be used to investigate the emotional and material contexts for eighteenth- and nineteenth-century suicide. It also argues that, at a time when the history of emotions has reached considerable prominence, historians must be more attentive to the experiences of the suicidal.

Joost Halbertsma and the Lexicon Frisicum1

2019 ◽  
pp. 93-109
Author(s):  
Anne Dykstra
Keyword(s):  
Nineteenth Century ◽  
The Netherlands ◽  
Internal Consistency ◽  
Cultural Nationalism ◽  
Civil State ◽  
Political Situation ◽  
Linguistic History ◽  
History Of ◽  
Insight Into

Joost Halbertsma’s Lexicon Frisicum, published by his son Tjalling in 1872, was the first dictionary to contain modern Frisian, spoken in the Dutch Province of Friesland. As such, it is considered the basis of modern Frisian lexicography. In his dictionary, Halbertsma focuses much attention on the cultural and linguistic history of the Frisians. At the same time, he was very concerned with the Netherlands as a free civil state, and he used ancient Frisian customs and habits to comment on the national and political situation of his time. Dykstra addresses criticism levelled at Halbertsma’s dictionary, such as that it lacked internal consistency and coherence, tends to digress, and uses Latin as meta-language, making it largely inaccessible to Halberstma’s contemporaries. Even with its shortcomings, Dykstra evaluates the ways in which Halbertsma’s Lexicon Frisicum provides insight into various aspects of nineteenth-century linguistics, lexicography, culture, and cultural nationalism.

““Das verlassene Määgdlein””: Grief Partaken

2009 ◽  
Vol 33 (2) ◽  
pp. 173-192
Author(s):  
Karen M. Bottge
Keyword(s):  
Nineteenth Century ◽  
Sustained Attention ◽  
Musical Settings ◽  
Musical History ◽  
History Of ◽  
The Creation ◽  
The Voice ◽  
Insight Into

Abstract Perhaps the most influential abandoned woman to surface in the musical history of the nineteenth century was that conceived by Biedermeier poet Eduard Möörike. Since its initial publication in 1832, his ““Das verlassene Määgdlein”” has engaged the sustained attention of composers, performers, and even music analysts and critics. Not only did his Määgdlein prompt the creation of numerous nineteenth-century volkstüümliche varianten throughout Germany and Austria, but she also inspired 130 musical settings dating between 1832 and 1985. Yet, although Möörike is just one of many figures within a long tradition of male poets writing on female abandonment, there seems to be something to this particular poem, that is, to Möörike's Määgdlein, that has compelled composers to retell her tale again and again in song. My discussion begins by first revisiting the poem's original novelistic context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Möörike's Määgdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann's ““Das verlassne Määgdelein”” (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf's 1888 ““Das verlassene Määgdlein”” (also op. 64, no. 2), perhaps the most renowned setting of them all. Through the juxtaposition of these two settings we may not only uncover their potential textual and musical interconnections, but also gain insight into the tacit cultural understandings and ideologies surrounding those who take up the voice of the abandoned.

scholarly journals Savings banks as an institutional import: the case of nineteenth-century Ireland

2003 ◽  
Vol 10 (1) ◽  
pp. 31-55 ◽  
Author(s):  
CORMAC Ó GRÁDA
Keyword(s):  
Nineteenth Century ◽  
Aggregate Data ◽  
Early History ◽  
Middle Classes ◽  
Savings Banks ◽  
The Poor ◽  
Savings Bank ◽  
History Of ◽  
And Performance

The article examines the early history of provident institutions or trustee savings banks in Ireland. Combining aggregate data and an archive-based study of one savings bank, it describes the growth and performance of this ‘institutional import’. By and large, Irish savings banks catered for the lower-middle and middle classes, not the poor as intended by the founders of the movement. The article also explains how the collapse of three savings banks in 1848 dealt savings banks in Ireland as a whole a blow from which they never really recovered.

Return to the Wilberforce–Huxley Debate

1988 ◽  
Vol 21 (2) ◽  
pp. 161-179 ◽  
Author(s):  
J. Vernon Jensen
Keyword(s):  
Nineteenth Century ◽  
Young Scientist ◽  
Science And Religion ◽  
Late Nineteenth Century ◽  
Rhetorical History ◽  
Victorian Era ◽  
Thomas Henry Huxley ◽  
History Of ◽  
Historic City ◽  
Insight Into

One hundred and twenty-eight years ago in the historic city of Oxford a relatively brief impromptu verbal exchange at a scientific convention occurred. It is still vividly remembered in and out of academia. This so-called ‘debate’ between the Bishop of Oxford, Samuel Wilberforce, and the young scientist, Thomas Henry Huxley, a simple and concrete episode, has continued to symbolize dramatically the complex and abstract phenomenon of the conflict between science and religion in the late nineteenth century. while that symbol may be somewhat inaccurate, or its relevance may have shifted from a century ago, it still is a powerful image, one which continues to be an important part of the religious, scientific and rhetorical history of the late Victorian era. Moore recently wrote: ‘No battle of the nineteenth century, save Waterloo, is better known.’ It is, as Altholz put it, ‘one of those historical events the substance and significance of which are clear, but whose specifics are decidedly fuzzy around the edges.’ It is the purpose of this paper to present a full and balanced view of the specific ingredients, permitting a better insight into the event's symbolism and significance.

Embodying Emptiness: the Irreality of Mikhail Chekhov's Khlestakov

2009 ◽  
Vol 25 (3) ◽  
pp. 224-232 ◽  
Author(s):  
Laurence Senelick
Keyword(s):  
Nineteenth Century ◽  
Sex And Gender ◽  
Anton Chekhov ◽  
History Of ◽  
And Performance ◽  
And Gender ◽  
The Times ◽  
The Devil ◽  
Moscow Art Theatre

Comedy, argues Laurence Senelick, is the form most indigenous to the Russian stage; so while its great players may still vie to make Hamlet their own, it is the comic figure of Khlestakov in Gogol's Government Inspector (Revizor) who most fully absorbs and enacts the concerns of the times in which the role is recreated. Here, while tracing the history of the role during the nineteenth century, Laurence Senelick is chiefly concerned with its performance by Mikhail Chekhov in Stanislavsky's first post-Revolutionary production at the Moscow Art Theatre in 1921. Stanislavsky's earlier revival in 1908 had placed Khlestakov amidst a ‘community of fools’; now – reflecting the view of Gogol's anti-hero given by Dmitry Merezhkovsky in his influential essay of 1906, ‘Gogol and the Devil’ – Chekhov accomplished the challenging task of embodying a nullity, an ‘empty vessel’, the odd one out in a ‘normal’ society which he manages briefly to plunge into delirium. Laurence Senelick is Distinguished Professor at Tufts University, and has published widely in the fields of Russian theatre, the history of popular entertainments, sex and gender and performance, and theatre iconography. His most recent works include A Historical Dictionary of Russian Theatre (Scarecrow Press, 2007), The Complete Plays of Anton Chekhov as translator and editor (Norton, 2005), and The Changing Room: Sex, Drag, and Theatre (Routledge, 2000).

scholarly journals The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era

2020 ◽  
pp. 21-37
Author(s):  
Klaudia Popielska
Keyword(s):  
Nineteenth Century ◽  
Piano Concerto ◽  
Polish Music ◽  
Romantic Era ◽  
History Of ◽  
And Performance ◽  
A Minor ◽  
National Style

The second half of the nineteenth century is a neglected period in the history of Polish music, in the aspects of both research and performance. Works by many composers from this period have unfortunately been forgotten. One such composer is undoubtedly Aleksander Zarzycki (1834–1895), also a teacher and piano virtuoso, the author of more than 40 opuses, including many solo songs with piano accompaniment, which have frequently been compared to the songs of Stanisław Moniuszko. Similarly as Poland’s most famous song composer, Zarzycki created two songbooks that belong to the trend of egalitarian songs. He was also renowned for his short piano pieces, written in the salon style with virtuoso elements. One of his most famous works is the Mazurka in G major, popularised by the Spanish virtuoso violinist Pablo Sarasate. Also of note is his Piano Concerto in A-flat major Op. 17, drawing on Fryderyk Chopin’s Piano Concerto in A minor and Józef Wieniawski’s Concerto in G minor. Zarzycki’s works are characteristic of his era, and contain elements of folklore, national style, virtuosity, and the so-called ‘Romantic mood’.

Migration Infrastructure and Brokerage in Victorian Female Emigration Societies

2021 ◽  
Vol 7 (1) ◽  
pp. 24-50
Author(s):  
Marie Ruiz
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
British Empire ◽  
Transnational Migration ◽  
Holistic Approach ◽  
Meso Level ◽  
State Institutions ◽  
Female Migration ◽  
History Of ◽  
Insight Into

Abstract In the nineteenth century, female mobility was eased by a variety of intermediary structures, which interacted to direct the migration of British women to the Empire. Among these migration infrastructures were female emigration societies such as the Female Middle Class Emigration Society (1861–1886). This organisation was the first to assist gentlewomen in emigrating. It adopted a holistic approach to British female emigration by promoting women’s departure, selecting candidates, arranging their protection on the voyage, as well as their reception in the colonies. Grounded in a multifactorial perspective, this article offers an insight into how female migration brokerage came into being in the Victorian context. It intersects migration with gender and labour perspectives in a trans-sectorial approach of the history of female migration infrastructures in the British Empire, and reveals the diversity of transnational migration intermediaries interacting at meso level between female emigrants, non-state actors, and state institutions.

Maelzel, the Metronome, and the Modern Mechanics of Musical Time

2021 ◽  
pp. 302-340
Author(s):  
Alexander E. Bonus
Keyword(s):  
Nineteenth Century ◽  
Reception History ◽  
Professional Musicians ◽  
Performance Practices ◽  
Musical Time ◽  
Performance Culture ◽  
Industrial Age ◽  
History Of ◽  
Contemporary Performance ◽  
And Performance

Johann Nepomuk Maelzel, despite being most recognized today for inventing the clockwork metronome, was one of the most famous automata showmen of the nineteenth century. This chapter begins by offering a reception history of Maelzel, the metronome, and his automata, and exploring the cultural significances underlying his clockwork creations across the Industrial Age. As numerous accounts maintain, Maelzel’s automata projected decidedly inhuman performance practices. His automata emblematized a machine culture that ran in direct opposition to the subjective ‘artistry’ championed by many skilled performers and composers over the century. This study subsequently addresses the discord between Maelzel’s age and ours regarding the values of musical time and performance practices: those metronomic qualities largely rejected by Maelzel’s musical contemporaries are often vehemently endorsed today by many professional musicians and educators who apply mechanically precise tempos and rhythms to all musical repertoires. This history ultimately confronts the veiled ‘metronome mentality’ found throughout contemporary performance culture, which neglects many musical-temporal aesthetics and rhythmic qualities from a pre-industrial, pre-metronomic past.

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