The graph below illustrates the size of orchestra required to perform symphonies composed between 1750 and 1920. Each symphony is represented by two dots: the red dots and line represent woodwind instruments; blue relates to brass instruments. Continue reading →
The gentleman pictured to the right is Welsh composer Henry Brinley Richards.1 Although he is little-known today, his piano nocturne ‘Marie’ Opus.60 was the most published British musical work in Germany in the nineteenth century. German music lovers could purchase ‘Marie’ in its original form or in various arrangements in an impressive 34 separate publications from 27 different publishers between 1861 and 1877.2
That conclusion comes from an analysis of Hofmeister’s Monatsberichte – a monthly listing of music publications appearing in the German market, compiled by Leipzig music publisher Friedrich Hofmeister from 1829 onwards. The Monatsberichte up to the end of the nineteenth century are available as an online database, listing about a third of a million publications from over 36,000 composers. This article is about the British composers and their works that appear in Hofmeister’s listings. Continue reading →
In what ways can statistical techniques be used to investigate topics in historical musicology? I think there are four main approaches – hypothesis testing, quantification, modelling and exploration. Their use depends on the topic, the data, and the type of question you are trying to answer.
These four types often overlap. It is hard to do modelling without some exploration and quantification, for example. Also, after you have spent so long collecting the data, cleaning it, and getting it into a form for statistical analysis, why not squeeze the most out of it and do some general exploration after testing your hypotheses? Continue reading →