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⁸ This increase in musical activity is remarked by both Stephen Banfield (‘The Artist and Society’, in The Romantic Age 1800–1914. The Athlone History of Music in Britain, ed. Temperley, Nicholas, vol. 5 (London, 1981), 14) andGoogle ScholarWeber, William (Music and the Middle Class: The Social Structure of Concert Life in London, Paris and Vienna (New York, 1975; Aldershot, 2003), 68–9 and 89–90)Google Scholar , who observe that in the first half of the nineteenth century London enjoyed a richer concert life than either Paris or Vienna , Russell, whilst Dave (Popular Music in England 1840–1914: A Social History (Manchester, 1987), 5Google Scholar ) notes that the number of ‘musicians and music masters’ recorded in the census returns increased from 19,000 in 1871 to 47,000 in 1911. In the capital the foundation of the Philharmonic Society in 1813 (see Foster, Myles B., The History of the Philharmonic Society of London 1813–1912 (London, 1912))Google Scholar made a high standard of orchestral performance available to the aristocracy and the new, wealthier bourgeoisie, and from around 1835 chamber music concerts and solo recitals also began to appear regularly. Concert life flourished in the 1830s and 1840s in particular due to the founding of a number of bodies that promoted musical activity, such as the Sacred Harmonic Society (1832), the Society of British Musicians (1834), the Purcell Club (1836), the Musical Antiquarian Society (1840), the Motett Society (1841) and the Handel Society (1843). Amateur concert activity flourished too – especially in the provinces, which saw an increase in the number of amateur brass bands, orchestras and choral societies.

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¹⁸ Jacques was himself a lecturer on music appreciation. His lectures often took the form of ‘running commentaries’ on concerts, and George Bernard Shaw gives an account of one such commentary on a Historical Recital given by J.H. Bonawitz in 1892 at Prince's Hall (see Shaw, George Bernard, ‘Slivinski and Sauret’, The World (25 May 1892)Google Scholar ; reprinted in Shaw's Music. The Complete Musical Criticism in Three Volumes, ed. Laurence, Dan H. (The Bodley Head Shaw), vol. 2, (London, 1981), 631–2). Jacques also edited The Musical World until its demise in 1891Google Scholar.

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²⁹ This information was supplied by American pedagogue Frances Elliott Clark (1860–1958) in response to Percy Scholes's inquiry concerning the origins and early development of the appreciation movement in the United States and is cited in Scholes, Music, 15. Born in Indiana, Clark taught in public schools in Illinois and Iowa until 1903 when she became music supervisor in the Milwaukee public schools. She was a founder member and first president of the Music Supervisors’ National Conference, served on the executive committee and chaired at various times the Archives, Necrology, and Lowell Mason Sesquicentennial Committees. She was active in the Music Teachers’ National Association and the National Federation of Music Clubs and wrote numerous articles on music education for professional publications.

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³⁶ Ibid., 207.

³⁷ Ibid.

³⁸ Ibid., 207–8.

³⁹ Ibid., 208.

⁴⁰ Ibid.

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⁴⁸ Ibid.

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⁷⁰ Scholes, Percy A., Learning to Listen By Means of the Gramophone. A Course in the Appreciation of Music for Use in Schools (London, 1921), x.Google Scholar

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⁷² Moutrie, John, ‘The Appreciation Movement in Britain: Macpherson, Read and Scholes’ in Some Great Music Educators: A Collection of Essays, ed. Simpson, Kenneth (Borough Green, 1976), 63.Google Scholar

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⁸⁰ Scholes, , Learning to Listen, 3.Google Scholar

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⁸⁹ Ibid., 40.

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