"International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, trading these through the networks of communication that existed within the British Empire at the time. Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into broader debates about music's role in society"--Page 4 of cover.

Liverpool was the first British port of call for most American travelers in the nineteenth century—and though some, like sour wordsmith Henry James, preferred to describe the more picturesque Chester, many left accounts of their experiences in the city. This volume unearths some of these richly detailed passages—by the likes of Herman Melville, writing on the Liverpool docks, and Nathaniel Hawthorne, recording his years as American consul—and pairs them with other fascinating glimpses of a Liverpool past by such towering historical figures as Harriet Beecher Stowe, John James Audubon, and Frederick Douglass. The excerpts collected here paint a portrait of Liverpool through American eyes—and demonstrate the rich variety of cultural contacts between the two nations during centuries gone by.

Ausstellungs-Reglemente (1886).