Mind-Maps? Not This Time!

Thinking about the whole corpus of legal deposit music in the late 18th and early 19th centuries:-

  • Where it went
  • How it got there
  • What was retained
  • Who was involved in its immediate and subsequent curation
  • Whether it was used
  • What about the materials not retained?
  • The approach to this material in different institutions
  • Women composing music
  • Women performing music
  • Women teaching music
  • Music composed in response to war
  • Music in cultural history – what was popular, when, with whom?
  • Music for dance
  • Music pedagogy prior to the mid-19th century
  • Music for particular instruments (eg harp) or ensembles
  • Musical arrangements, music re-purposed in some way (and copyright issues)
  • National music – privileged in terms of retention?
  • Religious music – I haven’t separated out any strands here yet
  • Hymn books – published with and without music. Another strand I have yet to explore
  • Documentation, cataloguing
  • Big data (when more collections are catalogued online)
  • Comparison of retention patterns between different libraries
  • Digitisation
  • Performance possibilities
  • Finally, last and by no means least – The big picture. Even acknowledging the contribution of the European great masters to music of this era, have we underestimated the importance of contemporary British music? Some is good, admittedly some is bad, and some is indifferent – but much of it is significant in revealing cultural trends at the time. This, I believe, is the true importance of the Georgian legal deposit music corpus.

Women In Music – Forgotten Female Composers

Looking at the historical copyright music collections, certain categories do leap out … theatrical music, single songs, instructional material, instrumental music, Napoleonic-era music … and music by women.  Now, there are various websites detailing women composers, and it would be rash (indeed, unnecessary) to create another one, but for the purposes of the Claimed From Stationers’ Hall network, what we need is a list of the women composers represented in and around the Georgian era – say, from 1760-1840.

I found all the women’s names in the “Authors” index of Michael Kassler’s Music Entries at Stationers’ Hall, 1710-1818 (Routledge, 2004), and then added in some extra names that appeared in St Andrews’ University Library Copyright Music Collection – specifically, in the volumes that have been catalogued online, from Vol.130 to Vol.385.  (Kassler also lists writers of lyrics, performers, and dedicatees, in separate indices – I have not included these.)  The resultant list can be found here:- Women Composers of the Georgian Era. (List compiled by Karen E McAulay, Royal Conservatoire of Scotland, 07/2018).

A WORD OF CAUTION! Researchers should cross-refer between Kassler and Copac, to ensure that works post-1818 are also represented, and to eliminate any names which may have other than strictly authorial responsibility for the works cited.

Kassler’s book is one I consult almost daily.  It’s available in a number of university libraries, both as hardback and e-book.  Recommended!


I tweeted about this earlier today, and I’ll reiterate it here – please do share any links to Pastoral scene ladiesuseful lists of historical names!  If your list has both “ancient and modern”, I’ll still be happy to include the link.  However, to keep it relevant, let’s not add lists of women composers from the 20th century onwards.  The Claimed from Stationers’ Hall network is about predominantly Georgian music, published in Britain and legally deposited in British libraries – that’s the network’s remit, and that’s what the research funding is enabling!



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