ABSTRACT
The intellectual life of music, musicians and the music business in nineteenth-century Britain has received significant attention in recent years, as scholars turn from the economic and social history of music to its frameworks and supporting structures. Music criticism found a place in the periodical literature from the early eighteenth century, via journals such as The Spectator and The Tatler, The Public Ledger, The Analytical Review and The Monthly Magazine. Characterisations of audiences for classical music in the nineteenth century have typically traced a move from noisy, social occasions at the start of the century to reverent, hushed and educated listeners by the end. Music formed a topic of publications among practising musicians, music critics, scientists, philosophers, theologians and a range of other scholars and authors who brought differing perspectives and approaches to the development of musicology.
