...Amy Dunagin The first two sustained efforts to chronicle the history of English music were conducted independently during the 1710s and 1720s by Thomas Tudway and Roger North. They wrote in the context of the escalating popularity of Italian opera in England. Their histories also resonated...

...Keith Johnston Montesquieu's climatological theory of character played an important role in English musical criticism in the third quarter of the eighteenth century and helped form an intellectual basis for an English critique of Italian comic opera in the sentimental mode. Critics like Joseph...

... moved away from Italian opera and toward English oratorio. While Fielding was critical of the former, the latter genre aligned with his aesthetic ideal, which favored word‐centric music performed in English with a minimum of “Tinsel, or . . . Ostentation.” Indeed, it is arguable that in his ballad‐opera...

... with the English choral works to which he was then giving attention” ( Opera Grove , 2:627). But whatever the dramaturgic and musical shortcomings of some of the later operas, they should not be seen as feeble exemplars of the heroic mode. They are a different kind of dramatic structure, and to denounce them...

... to Thomas Twining, June , LCB, Burney continues by explaining that Johnson is his adviser on matters of correct English usage, on which, of course, the great lexicographer was the primary authority. “I never,” Burney writes, “would consult him about any- thing where Music is concerned...

... and Scotland into the kingdom of Great Britain, folk music took on an even greater sym- bolic importance as an emblem of Scottishness, now threatened by creeping Anglicization. The Act of Union dissolved Scotland’s parliament, sending forty-five members from it down to Westminster to the English House...

... to Bruce Wood and Andrew Pinnock,” Early Music 22 [1994]: 469–81). Since this exchange, two other scholars have come to support the 1684 date: Hume in “Politics” and James A. Winn in “Theatrical culture 2: theatre and music,” in The Cambridge Companion to English...

... (Yale Center for British Art, New Haven; Royal Academy, London) catches the essence of his works: The Sharp Family is a Hogarth conversation piece with more people, more detail, meticulously rendered, heads jammed between heads, a horror vacui that foreigners regard as characteristic of English...

... in this phase of English cultural life, while the precarious statecraft of her reign reveals the resilience Anne brought to the task of saving the nation. Winn moves fluidly from text to context, and context to text, operating where necessary by tactful suggestion; where hard evidence is missing...

... 11/6/01, 8:28 AM vi (January/May 1981), and gender studies of English fiction (Fall 2000). Other eighteenth-century journals would later imitate these innovative features of Eighteenth-Century Life, as well as the interdisciplinary approach Bob...

... but piercingly echoing revenant now serving as plaint for its own composer. Rhythmic vitality that derives from the tight interdependence of poetry and music characterizes English songs of the period. William Lawes heightened this practice by creating dissonant moments in his complex polyphonic voicings...

... increasingly evident in English culture; by 1735, there were well over a hundred lodges, the membership of which extended from the middle classes to the upper echelons of the nobility and clergy.2 Many of the grand masters from the 1720s on were drawn from the aristocracy, a well-publicized fact...

... J Seven of the ten essays in this collection have already appeared in print, yet this book is less repetitive than most sets of collected essays, thanks in large measure to the author’s astonishing range. Marshall Brown writes with author- ity about literature in English, French, Italian...

... Novelist,” Review of English Studies . . Catherine Gallagher, Nobody’s Story: The Vanishing Acts of Women Writers in the Marketplace, (Berkeley: Univ. of California, Other speakers at that symposium were Philip Olleson, Matthew Spencer, and Christine Davies. I would like to thank...

... by Memory: Wordsworth’s Poetry of the 1790s (Chicago & London: Univ. of Chicago, 2000). Pp. 186. $15 paper. ISBN 0-226-07557-5 Brown, Laura. Fables of Modernity: Literature and Culture in the English Eighteenth Century (Ithaca & London: Cornell Univ...

...,” in Material Women, 1750 – 1950 , ed. Maureen Daly Goggin and Beth Fowkes Tobin (Farnham: Ashgate, 2009), 1 – 13; the quotation is from 2. 31. Memoirs , 276. Rose Bradley, in The English Housewife in the Seventeenth and Eighteenth Centuries (Ann Arbor: Univ. of Michigan Library, 1912), also states...

... bags” as Watson’s Choice Collection. Seen in comparison with such earlier pub- lications, then, Watson’s work, with its mixture of “Comic” and “Serious” works, no longer appears so “disorganized” and “strange.” It differs, how- ever, from its English contemporaries in its focus on national...

..., “The Musical Life of Thomas Shadwell,” Restoration: Studies in English Literary Culture, 1660–1700 20 (Fall 1996): 149–64. 34. E.g., during the Gray’s Inns revels of 1594–95, the “Prince of Purpoole, attended by eighty gentlemen of Gray’s Inn...

..., tend to distill Methodism into mere religious enthusiasm. The problem, Mack explains, is that some modern scholars are “tone-­deaf to religious sensibili- 84 Eighteenth-Century Life ties” (11), which results in accounts like E. P. Thompson’s, in The Making of  the English Working Class...

... Helen Burke Florida State University Teg has been here, and to this learned Pit, With Irish action slander’d English Wit. You have beheld such barbr’ous Mac’s appear, As merited a second Massacre; Such as like Cain were branded with disgrace, And had...