Chapters in this book

1. Frontmatter i
2. Contents vii
3. Illustrations ix
4. Contributors xi
5. Acknowledgements xv
6. Introduction: Trends in British Musical Thought, 1850–1950 1
7. Chapter 1 Avoiding ‘Coarse Invective’ and ‘Unseemly Vehemence’: English Music Criticism, 1850–1870 9
8. Chapter 2 Spencer, Sympathy and the Oxford School of Music Criticism 38
9. Chapter 3 Free Thought and the Musician: Ernest Walker, the ‘English Hanslick’ 64
10. Chapter 4 Ernest Newman and the Promise of Method in Biography, Criticism and History 84
11. Chapter 5 ‘Making Symphony Articulate’: Bernard Shaw’s Sense of Music History 102
12. Chapter 6 Analysis and Value Judgement: Schumann, Bruckner and Tovey’s Essays in Musical Analysis 123
13. Chapter 7 The Scholar as Critic: Edward J. Dent 154
14. Chapter 8 Russia and Eastern Europe 174
15. Chapter 9 Anti-Intellectualism and the Rhetoric of ‘National Character’ in Music: The Vulgarity of Over-Refinement 199
16. Chapter 10 Chosen Causes: Writings on Music by Bernard van Dieren, Peter Warlock and Cecil Gray 235
17. Chapter 11 ‘Es klang so alt und war doch so neu’: Vaughan Williams, Aesthetics and History 255
18. Chapter 12 Constant Lambert: A Critic for Today? A Commentary on Music Ho! 278
19. Chapter 13 The Challenge to Goodwill: Herbert Howells, Alban Berg and ‘The Modern Problem’ 304
20. Chapter 14 Hans Keller: The Making of an ‘Anti-Critic’ 328
21. Select Bibliography 345
22. Index 365