Conference Schedule – final draft

Wednesday 3 July

9.00 Registration

9.45 Welcome

10.00 Keynote 1
Dr David Wright: What sorts of students studied at the early Royal College of Music (1883–1914)?

11.00 Refreshments

11.30 Session 1a: Regional Concerts Session 1b: Socio-cultural contexts

Mie Othelie Berg: ‘A Moral Weapon’ – Social
ambitions & the civic organ in the Black Country
Michael Busk: Manchester’s First Nineteenth-
Century Musical Festival, 1828
Rachel Johnson: The Hargreaves Choral Society’s
Programme Notes
Helen Barlow: ‘Rugby or Revivalism’: the secular
turn in Welsh congregational singing
Danielle Padley: The female voice in Anglo-Jewish
worship: Home, Holy Days and Holidays
John Ling: Harmony and parsimony: middle class
attitudes towards music in elementary schools after
the 1870 Education Act

13.00 Lunch; own arrangement

14.30 Session 2a: Star performers Session 2b: Aspects of Instrumentation

Therese Ellsworth: Louise Dulcken: A Pianist on
Tour through the British Provinces in the 1840s
Hanna Winiszewska: Princess Daisy von Pless’s
Musical Career: a Case Study
Paul Watt: Marie Lloyd and Biographical
Constructions of the Nineteenth-Century Female
Superstar
Sarah Kirby: Unheard Melodies: Representations of
the Past and the Reception of ‘Ancient’ Instruments
at Late 19th-Century British International
Exhibitions
James B. Kuykendall & Louise Ridder: Pirating
Pinafore: Sousa’s 1879 orchestration
Paul Britten: Quadrille Bands and musical life in
19th century Brighton

16.00 Refreshments

16.30 Session 3a: Aesthetics Session 3b: Music in Place

Deborah Heckert: “Dance to the Music of Time”:
Historical Dance and Iconic Mode in Music and the
Visual Arts, 1880–1920
Bradley Hoover: British Delsartism: François
Delsarte’s Influence on Musical Culture in Britain.
Alexander Wilfing: The First Aesthetics of
‘Absolute’ Music? Adam Smith’s Essay on the
‘Imitative Arts’
Ian Maxwell: “How is the cornopiston coming
along?” – William Thomson and the Cambridge
University Musical Society
George Kennaway: The music archives of Burton
Constable: highlights of the collection
Inja Stanovic: Maiden Lane Treasures: G&T piano
recordings and their legacy

18.00 Reception TBC

Thursday 4 July

10.00 Session 4:
Historical musicology
Leanne Langley: Berlioz, 1851 and the New Philharmonic Society
Rachael Cowgill: Pantheon Redux: Situating Opera in the Regency Development of London's West End,
1811-12

11.00 Refreshments

11.30 Keynote 2
Dr Paul Rodmell: In Defence of Cosmopolitanism

12.30 Lunch; own arrangement

14.00 Session 5a: English music matters Session 5b: Receptions

Douglas MacMillan: The recorder in the long
nineteenth century
Russell Burdekin: Howard Glover’s Ruy Blas:
harbinger of English Romantic Opera’s demise?
Chloe Valenti: Freaks and Jokes: The Problem of
English Serious Opera in Britain and Abroad
Judy Barger: Theresa Beney on the Bench:
Unnamed but not Unnoticed
Barbara Haws: An American in London: Ureli
Corelli Hill’s Impressions of the London Music
Scene, 1835-37
Rosalia Polo Cal: Enrique Fernández Arbós: Half a
Century of Music in the London Press (1891-1939)

15.30 Refreshments

16.00 Session 6
Panel: Music, society, and politics in Britain, 1800–1850
Oskar Cox Jensen: Buffalo Gals comes to Britain
David Kennerley: Voicing radicalism: Chartist choral aesthetics in William Jones’s Immortality
Eamonn O’Keeffe: Regimental repertoires: the manuscript music books of Napoleonic-era British military
musicians

17.30 Presentations end

19.30 Conference Dinner: An Evening with the Canterbury Catch Club

Café du Soleil

/continued
Friday 5 July

9.30 Session 7: Repertoire & Analysis

Stephen Downes: Troping Topics and Vanishing Tonics in Frank Bridge’s miniature Sunset
Peter Horton: Writing for double choir in English cathedrals in the 19th century

10.30 Refreshments

11.00 Session 8a: The English Glee Session 8b: Analysis

Karl Traugott Goldbach: Louis Spohr and the Glee –
a German perspective
Julia Hamilton: Convivial, Yet Political: Two Glee
Settings of Cowper’s The Negro’s Complaint (1788)
Chris Price: What Henry Farrow didn’t tell the Dean:
a Lay Clerk pleads poverty
Benedict Taylor: Symphonic Poetry, 1914: Musical
Form, Programmatic Paratext, and the Problem of
Authorially Informed Analysis in Parry’s From
Death To Life
Christopher Redwood: The Roothams of Bristol
and Cyril Rootham’s 1914 setting of For The Fallen
Tadhg Sauvey: Alexander Ellis, the Scales of
Various Nations, and the Chord of Nature

12.30 Lunch; own arrangement

14.00 Session 9: Music & Theology

Phyllis Weliver: ‘The Light of the World’: Music, Faith & Liberalism in Robert Elsmere and
The Commonwealth
Bennett Zon: Science Parry-phrasing Theology

15.00 Refreshments; business; final farewells

16.00 All depart