In eighteenth-century England, \u201cvariety\u201d became a prized aesthetic in musical culture. Not only was variety\u2014of counterpoint, harmony, melody, and orchestration\u2014expected for good composition, but it also manifested in cultural mediums such as songbook anthologies, which compiled miscellaneous songs and styles in single volumes; pasticcio operas, which were cobbled together from excerpts from other operas; and public concerts, which offered a hodgepodge assortment of different types and styles of performance. I call this trend of producing music through the collection, assemblage, and juxtaposition of various smaller pieces as musical miscellany; like a jigsaw puzzle (also invented in the eighteenth century), the urge to construct a whole out of smaller, different parts reflected a growing desire to appeal to a quickly diversifying England. This book explores the phenomenon of musical miscellany in early eighteenth-century England both in performance culture and as an aesthetic. Musical miscellany, in its many forms, juxtaposed foreign and homegrown musical practices and styles in order to stimulate discourse surrounding English musical culture during a time of cosmopolitan transformation as the eighteenth century unfolded.<\/p>\n
“This\u00a0 scholarship\u00a0 is a\u00a0 model\u00a0 of\u00a0 how\u00a0 to\u00a0 use\u00a0 documentary evidence\u00a0 to\u00a0 explore\u00a0 and\u00a0 analyse\u00a0 audience\u00a0 tastes,\u00a0 concert\u00a0 programming,\u00a0 and\u00a0 early\u00a0 music criticism,\u00a0 generously\u00a0 illustrated\u00a0 with\u00a0 music\u00a0 examples. . . . DeSimone\u00a0 not\u00a0 only\u00a0 provides\u00a0 valuable\u00a0 scholarship\u00a0 that gives\u00a0 us\u00a0 a\u00a0 fuller\u00a0 picture\u00a0 of\u00a0 musical\u00a0 life\u00a0 during\u00a0 the\u00a0 beginning\u00a0 of\u00a0 the\u00a0 eighteenth\u00a0 century,\u00a0 she\u00a0 also uncovers\u00a0 new\u00a0 information\u00a0 and\u00a0 repertoire. In\u00a0 my\u00a0 view,\u00a0 The\u00a0 Power\u00a0 of\u00a0 Pastiche<\/em>\u00a0 is\u00a0 required\u00a0 reading for anyone\u00a0 working\u00a0 in\u00a0 the\u00a0 area\u00a0 of eighteenth-century\u00a0 English\u00a0 music.”
\n\u2014Vanessa\u00a0 L.\u00a0 Rogers,\u00a0NABMSA Reviews<\/i><\/p>","protected":false},"featured_media":3012,"template":"","subject":[38],"browse_by_series":[40],"browse_by_imprints":[],"conference":[51],"class_list":["post-3010","books","type-books","status-publish","has-post-thumbnail","hentry","subject-music","browse_by_series-studies-in-british-musical-cultures-series","conference-sam_22"],"acf":[],"_links":{"self":[{"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/books\/3010","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/books"}],"about":[{"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/types\/books"}],"version-history":[{"count":7,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/books\/3010\/revisions"}],"predecessor-version":[{"id":4946,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/books\/3010\/revisions\/4946"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/media\/3012"}],"wp:attachment":[{"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/media?parent=3010"}],"wp:term":[{"taxonomy":"subject","embeddable":true,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/subject?post=3010"},{"taxonomy":"browse_by_series","embeddable":true,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/browse_by_series?post=3010"},{"taxonomy":"browse_by_imprints","embeddable":true,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/browse_by_imprints?post=3010"},{"taxonomy":"conference","embeddable":true,"href":"https:\/\/libraries.clemson.edu\/press\/wp-json\/wp\/v2\/conference?post=3010"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}