Hostname: page-component-8448b6f56d-c47g7 Total loading time: 0 Render date: 2024-04-19T21:52:12.663Z Has data issue: false hasContentIssue false
  • English
  • Français

‘Who Is British Music?’ Placing Migrants in National Music History

Published online by Cambridge University Press:  29 November 2018

FLORIAN SCHEDING
Get access Rights & Permissions [Opens in a new window]

Extract

In 2013, trucks and vans were driving across London, bearing the message ‘In the UK illegally? Go home or face arrest.’ These mobile billboards declared the number of arrests that had taken place ‘in your area’ in the previous week and provided a number to which people could text the message ‘HOME’ to initiate voluntary repatriation. In 2016, Theresa May, who had organised this scheme as home secretary, became prime minister, following the upheaval caused by the country's plebiscite to leave the European Union. One of the main strands of argument of the successful ‘Brexit’ campaign centred on the ‘deep public anxiety . . . about uncontrolled immigration’ and promised to reduce numbers of immigrants to the country. This desire to control the nation's borders continued to dominate the official soundscape of Britain's government. At the 2016 annual Tory conference, May endeavoured to draw clear lines on issues of belonging, territory, citizenship, and the fuzzy notion of British values, discursively excluding not only migrants, but also anyone with an international(ist) outlook from the national debate: ‘If you believe you are a citizen of the world’, she posited, ‘you are a citizen of nowhere.’

Type
Forum
Information
Twentieth-Century Music , Volume 15 , Issue 3 , October 2018 , pp. 439 - 492
Copyright
Copyright © Cambridge University Press 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

The papers collated in this forum were first presented at the one-day conference ‘Who Is British Music? The Place of Immigrants in British Music History and Historiography’ at the University of Bristol on 6 June 2017. I am indebted to many helpers that supported this event and would especially like to thank Ensemble Émigré for their wonderful concert that concluded the conference.

References

Aldgate, Anthony and Richards, Jeffrey. Britain Can Take It: British Cinema in the Second World War. London: IB Tauris, 2007.Google Scholar
Appadurai, Arjun. ‘Archive and Aspiration’, in Information is Alive: Art and Theory on Archiving and Retrieving Data, ed. Brouwer, Joke. Rotterdam: V2 Publishing, 2003. 14–25.Google Scholar
Arendt, Hannah. ‘We Refugees’, in Altogether Elsewhere: Writers on Exile, ed. Robinson, Marc. Boston: Faber & Faber, 1994. 110–19.Google Scholar
Ashworth, Gregory, Graham, Brian, and Tunbridge, J. E.. Pluralising Pasts: Heritage, Identity and Place in Multicultural Societies. London: Pluto Press, 2007.Google Scholar
Attali, Jacques. Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1985.Google Scholar
Auden, W. H. ‘Introduction’, in Slick but not Streamlined: Poems and Short Pieces by John Betjeman. New York: Doubleday & Co, 1947. 17–24.Google Scholar
Baade, Christina L. Victory Through Harmony: The BBC and Popular Music in World War II. Oxford: Oxford University Press, 2012.Google Scholar
Bailey, Peter. ‘“Naughty but Nice”: Musical Comedy and the Rhetoric of the Girl, 1892–1914’, in The Edwardian Theatre: Essays on Performance and the Stage, ed. Booth, Michael R. and Kaplan, Joel H.. Cambridge: Cambridge University Press, 1996. 36–60.Google Scholar
Baker, Carl. ‘NHS Staff from Overseas: Statistics’. House of Commons Library Briefing Paper Number 7783, 7 February 2018.Google Scholar
Banfield, Stephen and Russell, Ian. ‘England (i)’. Grove Music Online, www.oxfordmusiconline.com (accessed 3 July 2018).Google Scholar
Barnett, Rob. ‘Continental Britons – The Émigré Composers’. MusicWeb International, www.musicweb-international.com/classrev/2007/Jan07/Continental_Britons_NI5730.htm (accessed 3 July 2018).Google Scholar
Bendazzi, Giannalberto. Cartoons: One Hundred Years of Cinema Animation. Bloomington and Indianapolis: Indiana University Press, 1994.Google Scholar
Bergfelder, Tim and Cargnelli, Christian, eds. Destination London: German-Speaking Émigrés and British Cinema, 1925–1950 (Film Europa 6). Oxford and New York: Berghahn, 2008.Google Scholar
Bhabha, Homi. The Location of Culture, 2nd edn. London: Routledge, 2004.Google Scholar
Biddle, Ian and Gibson, K. Kirsten. ‘Introduction’, in Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918, ed. Biddle, and Gibson, . Abingdon: Routledge, 2013. 1–14.Google Scholar
Bivins, Roberta. ‘Picturing Race in the British National Health Service, 1948–1988’. Twentieth Century British History 28/1 (March 2017), 83–109.Google Scholar
Boakye, Jeffrey. Hold Tight: Black Masculinity, Millennials & the Meaning of Grime. London: Influx Press, 2017.Google Scholar
Bohlman, Philip V. ‘Musicology as a Political Act’. The Journal of Musicology 11 (1993), 411–36.Google Scholar
Bohlman, Philip V. Focus: Music, Nationalism, and the Making of the New Europe, 2nd edn. New York: Routledge, 2011.Google Scholar
Brooks, Tim, Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919. Urbana, IL: University of Illinois Press, 2004.Google Scholar
Brosche, Günter. Zum 100. Geburtstag von Egon Wellesz. Vienna: Österreichische Nationalbibliothek, 1985.Google Scholar
Brown, Geoff. ‘Music for the People: Escapism and Social Comment in the Work of Hans May and Ernst Meyer’, in Destination London: German-Speaking Émigrés and British Cinema, 1925–1950 (Film Europa 6), ed. Bergfelder, Tim and Cargnelli, Christian. Oxford and New York: Berghahn, 2008. 204–19.Google Scholar
Brown, Laurence. ‘Review of The Battle of Britishness: Migrant Journeys, 1685 to the Present’. Reviews in History, review no. 1566. www.history.ac.uk/reviews/review/1566 (accessed 16 March 2018).Google Scholar
Bujić, Bojan. ‘Egon Wellesz Remembered in Berlin’. Lincoln Imprint, Lincoln College News (September 2012), 8.Google Scholar
Bujić, Bojan. ‘Shipwrecked on the Island of the Blessed: Egon Wellez's New Beginnings in Wartime Oxford’, in Ark of Civilisation: Refugee Scholars and Oxford University, 1930–1945, ed. Crawford, Sally, Ulmschneider, Katharina, and Elsner, Jaś. Oxford: Oxford University Press, 2017. 313–26.Google Scholar
Bulut, Selim. ‘Heading for the British Asian Underground with Riz MC’. Dazed, 25 April 2016. www.dazeddigital.com/music/article/30882/1/heading-for-the-british-asian-underground-with-riz-mc (accessed 14 December 2017).Google Scholar
Cloonan, Martin and Brennan, Matt, ‘Alien Invasions: The British Musicians’ Union and Foreign Musicians’. Popular Music 32/2 (2013), 277–95.Google Scholar
Cobbe, Hugh. ‘Vaughan Williams, Germany and the German Tradition; A View from the Letters’, in Vaughan Williams Studies, ed. Frogley, Alain. Cambridge: Cambridge University Press, 1996. 81–98.Google Scholar
Cohen, Sara. ‘Cavernous Journeys: Music, Migration and Urban Space’, in Migrating Music, ed. Toynbee, Jason and Dueck, Byron. London: Routledge, 2011. 235–50.Google Scholar
Collins, Hettie and Rose, Olivia. This is Grime. London: Hodder & Stoughton, 2016.Google Scholar
Collinson, Ian. ‘“Dis is England's New Voice”: Anger, Activism & the Asian Dub Foundation’, in Sonic Synergies: Music, Technology, Community, Identity, ed. Bloustien, Gerry, Peters, Margaret, and Luckman, Susan. Aldershot: Ashgate, 2008. 105–13.Google Scholar
Cowley, John. ‘Cultural “Fusions”: Aspects of British West Indian Music in the USA and Britain 1918–51’. Popular Music 5 (1985), 81–96.Google Scholar
Craft, Elizabeth Titrington. ‘Headfirst into a Political Abyss: The Politics and Political Reception of Hamilton‘. American Music 38/4 (forthcoming).Google Scholar
Crofts, William. Coercion or Persuasion? Propaganda in Britain after 1945. London: Routledge, 1989.Google Scholar
Dayan, Mark. ‘The Facts: EU Immigration and Pressure on the NHS’, Nuffield Trust and Full Fact briefing, 23 May 2016. www.nuffieldtrust.org.uk/resource/fact-check-migration-and-nhs-staff (accessed 9 March 2018).Google Scholar
Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis, MN: University of Minnesota Press, 1987.Google Scholar
Deniz, Joe. ‘Interview (with Val Wilmer)’, The Oral History of Jazz in Britain. London: British Library Sound Archive, 1988.Google Scholar
Dustmann, Christian and Frattini, Tommaso. ‘The Fiscal Effects of Immigration to the UK’. Economic Journal 124/580 (2014), F593–F643.Google Scholar
Dyde, Brian. The Empty Sleeve: The Story of the West India Regiments of the British Army. Antigua: Hansib, 1997.Google Scholar
Elden, Stuart. The Birth of Territory. Chicago: University of Chicago Press, 2013.Google Scholar
Endler, Franz. Egon Wellesz: Leben und Werk. Vienna: Zsolnay, 1981.Google Scholar
Fabian, Robert. London After Dark. London: Naldrett Press, 1954.Google Scholar
Farmer, Richard. Cinema and Cinemagoing in Wartime Britain: The Utility Dream Palace. Manchester: Manchester University Press, 2016.Google Scholar
Findon, B. W. ‘Mimes and Music’. The Play Pictorial 14/85 (1909), 230–4.Google Scholar
Foreman, Lewis. ‘Review: Egon Wellesz (1885–1974) Symphony No. 2, Op. 65 The English (1947–48), Symphony No. 9, Op. 111 (1970) Radio Symphonieorchester Wien/Gottfried Rabl, CPO 999 997–2’. www.musicweb-international.com/classrev/2004/feb04/Wellesz2_9.htm (accessed 11 November 2017).Google Scholar
Francis, Martin. Ideas and Policies under Labour, 1945–1951: Building a New Britain. Manchester: Manchester University Press, 1997.Google Scholar
Fritsche, Maria. The American Marshall Plan Film Campaign and the Europeans: A Captivated Audience? London: Bloomsbury, 2018.Google Scholar
Fryer, Peter. Staying Power: The History of Black People in Britain. London: Pluto Press, 1984.Google Scholar
Gilroy, Paul. After Empire: Melancholia or Convivial Culture? London: Routledge, 2004.Google Scholar
Gilroy, Paul. ‘Why Harry's Disoriented about Empire’. The Guardian, 18 January 2005. www.theguardian.com/uk/2005/jan/18/britishidentity.monarchy (accessed 14 December 2017).Google Scholar
Gilroy, Paul. There Ain't No Black in the Union Jack: The Cultural Politics of Race and Nation 2nd edn. Abingdon: Routledge, 2010.Google Scholar
Goodhart, David. The British Dream: Successes and Failures of Post-War Immigration. London: Atlantic Books, 2013.Google Scholar
Gough-Yates, Kevin. Somewhere in England: British Cinema and Exile. London: IB Tauris, 2000.Google Scholar
Green, Jeffrey. ‘The Jamaica Native Choir in Britain, 1906–1908’. Black Music Research Journal 13/1 (Spring 1993), 15–29.Google Scholar
Green, Jeffrey. Black Edwardians: Black People in Britain 1901–1914. London: Frank Cass, 1998.Google Scholar
Halas, Vivien Halas and Wells, Paul, eds. Halas & Batchelor Cartoons: An Animated History. London: Southbank Publishing, 2006.Google Scholar
Hall, Stuart. ‘When was the Postcolonial?’, in The Post-Colonial Question: Common Skies, Divided Horizons, ed. Chambers, Ian and Curti, Lidia. London: Routledge, 1996. 242–60.Google Scholar
Harrison, Rodney. ‘Multicultural and Minority Heritage’, in Understanding Heritage and Memory, ed. Benton, Tim. Manchester: Manchester University Press, 2010. 164–201.Google Scholar
Heher, Hannes. ‘Musik als Heimat-Ersatz: Die Symphonien des Egon Wellesz’, in Die österreichische Symphonie im 20. Jahrhundert, ed. Krones, Hartmut. Vienna: Böhlau, 2005. 101–18.Google Scholar
Heher, Hannes. ‘Nach der Neunten: Einige Anmerkungen zu den letzten Werken von Egon Wellesz’, in Wiener Musikgeschichte: Annäherungen—Analysen—Ausblicke. Festschrift für Hartmut Krones, ed. Bunghardt, Julia, Helfgott, Maria, Rathgeber, Eike, and Urbanek, Nikolaus. Vienna: Böhlau, 2009. 626–35.Google Scholar
Heher, Hannes and Eckhardt, Knut. ‘Bekenntnis oder Anachronismus? Zum symphonischen Werk von Egon Wellesz’. Österreichische Musikzeitschrift 54/10–11 (1999). 33–44.Google Scholar
Hesmondhalgh, David. ‘British Popular Music and Identity’, in British Cultural Studies: Geography, Nationality and Identity, ed. Morley, David and Robins, Kevin. Oxford: Oxford University Press, 2001. 273–86.Google Scholar
Heyworth, Peter. ‘Bogeyman's signpost’. The Observer, 24 October 1965, 25.Google Scholar
Hicks, Seymour. Twenty-Four Years of an Actor's Life. London: Alston Rivers, 1910.Google Scholar
Hill, Sarah. ‘Blerwytirhwng?’ The Place of Welsh Pop Music. Aldershot: Ashgate, 2007.Google Scholar
Hirschkind, Charles. ‘Religion’, in Keywords in Sound, ed. Novak, D. and Sakakeeny, M.. Durham, NC: Duke University Press, 2015. 165–74.Google Scholar
Hochscherf, Tobias. The Continental Connection: German-speaking Émigrés and British Cinema, 1927–1945. Manchester: Manchester University Press, 2011.Google Scholar
Hollingshead, John. ‘Good Old Gaiety‘: An Historiette and Remembrance. London: Gaiety Theatre Company, 1903.Google Scholar
Hughes, Spike. Second Movement: Continuing the Autobiography of Spike Hughes. London: Museum Press, 1951.Google Scholar
Hurd, Geoff. National Fictions: World War Two in British Films and Television. London: BFI Publishing, 1984.Google Scholar
Hussey, Dermot. ‘Jazz Beat: Bleak Future of Jamaican Jazz’. Sunday Gleaner, 24 February 1963.Google Scholar
Jones, Emma L. and Snow, Stephanie J.. ‘Immigration and the National Health Service: Putting History to the Forefront’. History & Policy, 8 March 2011. www.historyandpolicy.org/policy-papers/papers/immigration-and-the-national-health-service-putting-history-to-the-forefron (accessed 12 March 2018).Google Scholar
Jones, Emma L. and Snow, Stephanie J.. Against the Odds: Black and Minority Ethnic Clinicians and Manchester, 1948 to 2009. Manchester: Carnegie, 2010.Google Scholar
Keller, Hans. ‘Recent Film Music’. The Musical Times 96/1347 (1955), 265.Google Scholar
‘Ken Johnson has New Air Ideas’. Melody Maker, 2 December 1939, 7.Google Scholar
Khabra, Gurdeep. ‘Music in the Margins? Popular Music Heritage and British Bhangra Music’. International Journal of Heritage Studies 20/3 (2013), 343–55.Google Scholar
Kim, Helen. ‘“Keepin’ It Real”: Bombay Bronx, Cultural Producers and the Asian Scene’, in Migrating Music, ed. Toynbee, Jason and Dueck, Byron. London: Routledge, 2011. 218–34.Google Scholar
Kolleritsch, Otto, ed. Egon Wellesz. Vienna: Universal Edition, 1986.Google Scholar
Kovacevic, Tamara. ‘Reality Check: How Music Pressure Do EU Migrants Put on the NHS?’ BBC Reality Check, 17 June 2016. www.bbc.co.uk/news/uk-politics-eu-referendum-36058513 (accessed 12 March 2018).Google Scholar
Kun, Josh. ‘The Aural Border’. Theatre Journal 52 (2000), 1–21.Google Scholar
Kun, Josh. ‘The Aesthetics of Allá: Listening Like a Sonidero’, in Audible Empire: Music, Global Politics, Critique, ed. Radano, R. and Olaniyan, T.. Durham, NC: Duke University Press, 2016. 95–115.Google Scholar
Kushner, Tony. The Battle of Britishness: Migrant Journeys, 1685 to the Present. Manchester: Manchester University Press, 2012.Google Scholar
Landau, Carolyn, ‘“My Own Little Morocco at Home”: A Biographical Account of Migration, Mediation and Music Consumption’, in Migrating Music, ed. Toynbee, Jason and Dueck, Byron. London: Routledge, 2011. 38–54.Google Scholar
Landau, Carolyn and Fargion, Janet Topp. ‘We're All Archivists Now’. Ethnomusicology Forum 21/2 (2012), 125–40.Google Scholar
Lee, Georgina. ‘Are Migrants Causing the A&E Crisis?’ Channel 4 News FactCheck, 10 January 2018. www.channel4.com/news/factcheck/high-immigration-nhs-crisis (accessed 12 March 2018).Google Scholar
Levi, Erik. ‘Musik und Musiker im englischen Exil’, in Musik in der Emigration 1933–1945: Verfolgung, Vertreibung, Rückwirkung, ed. Weber, Horst. Stuttgart: Metzler, 1994. 192–212.Google Scholar
Lew, Nathaniel G. Tonic to the Nation: Making English Music in the Festival of Britain. Abingdon: Routledge, 2017.Google Scholar
Lipsitz, George. Dangerous Crossroads: Popular Music, Postmodernism and the Politics of Place. London: Verso, 1997.Google Scholar
‘Mahler's Fifth Symphony’. The Times, 22 October 1945, 8.Google Scholar
Malkki, Liisa, ‘National Geographic: The Rooting of Peoples and the Territorialization of National Identity Among Scholars and Refugees’. Cultural Anthropology 7/1 (1992), 24–44.Google Scholar
Malkki, Liisa. ‘Speechless Emissaries: Refugees, Humanitarianism, and Dehistoricization’. Cultural Anthropology 11/3 (1996), 377–404.Google Scholar
Mansell, James. The Age of Noise in Britain: Hearing Modernity. Urbana, IL: University of Illinois Press, 2017.Google Scholar
McFarlane, Brian. The Encyclopedia of British Film. London: Methuen/BFI, 2003.Google Scholar
Mead, Matthew. ‘Empire Windrush: Cultural Memory and Archival Disturbance’. Moveable Type 3 (2007), 112–28.Google Scholar
Mellers, Wilfrid. Studies in Contemporary Music. London: Dennis Dobson, 1947.Google Scholar
MigrationWatch UK. ‘The NHS and Migrant Labour’. Briefing Paper 5.9, 10 March 2012. www.migrationwatchuk.org/pdfs/BP5_9.pdf (accessed 9 March 2018).Google Scholar
Mitchell, Timothy. ‘Orientalism and the Exhibitionary Order’, in Colonialism and Culture, ed. Dirks, Nicholas B.. Ann Arbor: University of Michigan Press, 1992. 289–318.Google Scholar
Modood, Tariq. ‘Multicultural Citizenship and New Migrations’, in Multicultural Governance in a Mobile World, ed. Triandafyllidou, Anna. Edinburgh: Edinburgh University Press, 2017. 183–202.Google Scholar
Modood, Tariq and Salt, John. ‘Migration, Minorities and the Nation’, in Global Migration, Ethnicity and Britishness, ed. Modood, Tariq and Salt, John. London: Palgrave, 2011. 3–13.Google Scholar
Nail, Thomas. The Figure of the Migrant. Stanford, CA: Stanford University Press, 2015.Google Scholar
Nail, Thomas. Theory of the Border. Oxford: Oxford University Press, 2016.Google Scholar
Neely, Daniel. ‘“Mento, Jamaica's Original Music”: Development, Tourism and the Nationalist Frame’. PhD diss., New York University, 2008.Google Scholar
Neita, Hartley. ‘Jamaican Jazz Grows Up’. The Star, 17 December 1962, 10.Google Scholar
O'Keefe, Alice. ‘Rapper asks BBC to play 9/11 song’. The Guardian, 9 April 2006. www.theguardian.com/media/2006/apr/09/radio.arts (accessed 15 December 2017).Google Scholar
O'Keefe, Alice. ‘What Happened to MC Riz’, The Guardian, 16 April 2006. www.theguardian.com/uk/2006/apr/16/theobserver.uknews (accessed 15 December 2017).Google Scholar
Oliver, Paul, ed. Black Music in Britain: Essays on the Afro-Asian Contribution to Popular Music. Philadelphia, PA: Open University Press, 1990.Google Scholar
Olusoga, David. Black and British: A Forgotten History. London: Pan, 2017.Google Scholar
Parsonage (Tackley), Catherine. The Evolution of Jazz in Britain, c.1880–1935. Aldershot: Ashgate, 2005.Google Scholar
‘Pathé Reporter Meets 1948’. British Pathé. www.britishpathe.com/video/pathe-reporter-meets/query/windrush (accessed 10 March 2018).Google Scholar
Picker, John. Victorian Soundscapes. Oxford: Oxford University Press, 2003.Google Scholar
Rastogi, Pallavi and Jocelyn, Fenton Stitt. Before Windrush: Recovering an Asian and Black Literary Heritage within Britain. Cambridge: Cambridge Scholars Press, 2008.Google Scholar
‘Reality Check: NHS Staff: How Many Foreign Staff Work in the NHS?’ BBC News, 1 August 2017. www.bbc.co.uk/news/health-40753751 (accessed 9 March 2018).Google Scholar
Rendall, Michael and Salt, John. ‘The Foreign-born Population’, in Office for National Statistics, Focus on People and Migration: 2005 edition. Basingstoke: Palgrave Macmillan, 2005. 131–52.Google Scholar
Revers, Peter. ‘Die Schönberg-Rezeption in den frühen Symphonien von Egon Wellesz’. in Musicologica austriaca: Jahresschrift der Österreichischen Gesellschaft für Musikwissenschaft, 18 (1999), 257–67.Google Scholar
Rienzo, Cinzia and Vargas-Silva, Carlos. ‘Migrants in the UK: An Overview’. Migration Observatory briefing, COMPAS, University of Oxford, February 2017.Google Scholar
Riley, Matthew, ed. British Music and Modernism, 1895–1960. Farnham: Ashgate, 2010.Google Scholar
Ahmed, Rizwan (Riz MC). ‘Channel 4 Diversity Speech’. House of Commons, 1 March 2017. www.youtube.com/watch?v=36bcxDVNr1s (accessed 14 December 2017).Google Scholar
Rohlehr, Gordon. Calypso and Society in Pre-Independence Trinidad. Port-of-Spain: Gordon Rohlehr, 1990.Google Scholar
Rollefson, J. Griffith. Flip the Script: European Hip Hop and the Politics of Postcoloniality. Chicago: University of Chicago Press, 2017.Google Scholar
Rózsa, Miklós. Double Life. Tunbridge Wells: Baton Press, 1982.Google Scholar
Runciman, David. ‘Where Are We Now? Responses to the Referendum’. London Review of Books, 14 July 2016, 8.Google Scholar
Rupprecht, Philip. British Musical Modernism: The Manchester Group and their Contemporaries. Cambridge: Cambridge University Press, 2015.Google Scholar
Rye, Howard. ‘Southern Syncopated Orchestra: The Roster’. Black Music Research Journal 30/1 (Spring 2010), 19–70.Google Scholar
Said, Edward W. ‘Reflections on Exile’, in Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press, 2002. 173–86.Google Scholar
Samson, Jim. ‘Instrumental Music II’, in The Blackwell History of Music in Britain: The Twentieth Century, ed. Banfield, Stephen. Oxford: Blackwell, 1996. 294–6.Google Scholar
Schafer, Murray. British Composers in Interview. London: Faber, 1963.Google Scholar
Scheding, Florian and Levi, Erik. ‘Introduction’, in Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond, ed. Levi, Erik and Scheding, Florian. Lanham, MD: Scarecrow Press, 2010. 1–11.Google Scholar
Schollum, Robert. Egon Wellesz: Eine Studie. Vienna: Österreichischer Bundesverlag, 1964.Google Scholar
Sharma, Sanjay. ‘Asian Sounds’, in A Postcolonial People: South Asians in Britain, ed. Ali, Nasreen, Kalra, Virinder S., and Sayyid, Salman. London: C. Hurst, 2006. 317–26.Google Scholar
Shaw, Roy and Shaw, Gwen. ‘The Cultural and Social Setting’, in The Cambridge Guide to the Arts in Britain, Vol. 9: Since the Second World War, ed. Ford, Boris. Cambridge: Cambridge University Press, 1988. 3–22.Google Scholar
Shaw, Tony. British Cinema and the Cold War: The State, Propaganda and Consensus. London: IB Tauris, 2001.Google Scholar
Smith, Hayden. ‘NHS Would Collapse if It Wasn't for Immigrants, Experts Say’. Independent, 25 August 2016. www.independent.co.uk/news/uk/politics/brexit-immigration-figures-latest-nhs-would-collapse-immigrants-experts-warn-a7208616.html (accessed 9 March 2018).Google Scholar
Smith, Laurajane. Uses of Heritage. Abingdon: Routledge, 2006.Google Scholar
Stratton, John and Zuberi, Nabeel, eds. Black Popular Music in Britain Since 1945. Aldershot: Ashgate, 2014.Google Scholar
Street, Sarah. British National Cinema. London: Routledge, 2009.Google Scholar
Swinford, Steven and Donnelly, Laura. ‘EU Referendum: Spend Brussels Billions on NHS instead, Boris Johnson and Michael Give Urge’. Daily Telegraph, 15 April 2016. www.telegraph.co.uk/news/2016/04/14/eu-referendum-spend-brussels-billions-on-nhs-instead-boris-johns/ (accessed 12 March 2018).Google Scholar
Swynnoe, Jan. The Best Years of British Film Music: 1936–1958. Woodbridge: Boydell Press, 2002. 158–72.Google Scholar
Tackley, Catherine. ‘Jazz, Dance and Black British Identities’, in Bodies of Sound: Studies Across Popular Music and Dance, ed. Dodds, Sherril and Cook, Susan C.. Aldershot: Ashgate, 2013. 193–207.Google Scholar
Tackley, Catherine. ‘Race, Identity and the Meaning of Jazz in 1940s Britain’, in Black Popular Music in Britain Since 1945, ed. Stratton, John and Zuberi, Nabeel. Aldershot: Ashgate, 2014. 11–26.Google Scholar
Taruskin, Richard. The Oxford History of Western Music. Volume 5: Music in the Late Twentieth Century. Oxford and New York: Oxford University Press, 2010.Google Scholar
Terriss, Ellaline. Just a Little Bit of String. London: Hutchinson, 1955.Google Scholar
Thompson, Leslie with Green, Jeffrey. Swing from a Small Island: The Story of Leslie Thompson. London: Northway, 2009.Google Scholar
Toye, Richard. ‘From “Consensus” to “Common Ground”: The Rhetoric of the Postwar Settlement and its Collapse’, Journal of Contemporary History 48/1 (2013), 3–23.Google Scholar
Toynbee, Jason, Tackley, Catherine, and Doffman, Mark, eds. Black British Jazz: Routes, Ownership and Performance. London: Routledge, 2016.Google Scholar
Trnka, Susanna, Dureau, Christine, and Park, Julie. ‘Introduction: Senses and Citizenships’, in Senses and Citizenships: Embodying Political Life, ed. Trnka, Susanna, Dureau, Christine, and Park, Julie. New York: Routledge, 2013. 1–32.Google Scholar
Tunbridge, J. E. and Graham, Brian. Dissonant Heritage: The Management of the Past as a Resource in Conflict. Chichester: Wiley, 1996.Google Scholar
Vaughan Williams, Ralph. National Music. London: Oxford University Press, 1934.Google Scholar
Vogg, Herbert. Am Beispiel Egon Wellesz: sein Briefwechsel mit Doblinger als Zeugnis der Partnerschaft zwischen Komponist und Verlag. Vienna: Doblinger, 1996.Google Scholar
Wanek, Nina-Maria, ed. Egon Wellesz in Selbstzeugnissen: der Briefnachlass in der Österreichischen Nationalbibliothek. Vienna: Verlag der Österreichische Akademie der Wissenschaft, 2010.Google Scholar
Wellesz, Egon. ‘Maurice Ravel’. Musikblätter des Anbruch 2 (1920), 544–6.Google Scholar
Wellesz, Egon. ‘Ungarische Musik I: Béla Bartók’. Musikblätter des Anbruch 2 (1920), 225–8.Google Scholar
Wellesz, Egon. ‘Der Stil der letzten Werke Debussys’. Musikblätter des Anbruch 3 (1921), 50–4.Google Scholar
Wellesz, Egon. ‘Die Streichquartette von Béla Bartók’. Musikblätter des Anbruch 3 (1921), 98–100.Google Scholar
Wellesz, Egon. Der Beginn des musikalischen Barock und die Anfänge der Oper in Wien. Vienna: Wiener Literarische Anstalt, 1922.Google Scholar
Wellesz, Egon. ‘Englische Musik’. Musikblätter des Anbruch 4 (1922), 152.Google Scholar
Wellesz, Egon. Arnold Schönberg. Leipzig: Tal, 1921; trans. W. H. Kerridge, London: Dent, 1925.Google Scholar
Wellesz, Egon. Byzantinische Musik. Breslau: Hirt, 1927.Google Scholar
Wellesz, Egon. ‘Anton Bruckner and the Process of Musical Creation’, trans. Everett Helm. Musical Quarterly 24/3 (1938), 265–90.Google Scholar
Wellesz, Egon. ‘Cavalli’, ‘Eastern Church Music’, ‘Musicology’, ‘Opera’, in Grove's Dictionary of Music and Musicians, 4th edn, supp. vol., ed. Colles, H. C.. London: Macmillan, 1940.Google Scholar
Wellesz, Egon. ‘The Symphonies of Gustav Mahler’. Music Review 1 (1940), 2–23.Google Scholar
Wellesz, Egon. ‘English Musical Life: A Symposium’. Tempo 11 (June 1945), 4.Google Scholar
Wells, Paul. ‘Dustbins, Democracy and Defence: Halas and Batchelor and the Animated Film in Britain 1940–1947’, in War Culture: Social Change and the Changing Experience in World War Two, ed. Kirkham, Pat and Thoms, David. London: Lawrence & Wishart, 1995. 61–72.Google Scholar
Western, Tom. ‘National Phonography in the Musical Past: Empire, Archive, and Overlapping Musical Migrations in Britain’, in Confronting the National in the Musical Past, ed. Kelly, Elaine, Mantere, Markus, and Scott, Derek B.. London and New York: Routledge, 2018. 124–37.Google Scholar
Western, Tom. National Phonography: Field Recording, Sound Archiving, and Producing the Nation in Music. New York: Bloomsbury, forthcoming.Google Scholar
Winder, Robert. Bloody Foreigners: The Story of Immigration to Britain. London: Little, Brown, 2004.Google Scholar
Zuberi, Nabeel. ‘“New Throat Fe Chat”: The Voices and Media of MC Culture’, in Black Popular Music in Britain Since 1945, ed. Stratton, Jon and Zubieri, Nabeel. Farnham: Ashgate, 2014. 185–201.Google Scholar