From 1840–1920, waves of European and Asian immigrants engaged popular culture as a means for preserving ethnic identities as well as acculturating to a new society. This duality was at the core of ethnic commercial leisure, exemplified here by German beer gardens and Yiddish theatre. Vaudeville, movies, and Tin Pan Alley music especially catered to immigrant audiences, incorporating efforts at assimilation and ethnic distinctiveness into entertainment more broadly. The representation of immigrant groups and African Americans, however, in these entertainments was generally comic racist caricatures. Negative depictions of Irish, German, Jewish, African Americans, and Chinese persisted even while African American and immigrant groups fought racial ridicule in protests, boycotts, and censorship campaigns. While the stakes and efforts varied across different groups’ responses to racial and ethnic denigration, these struggles reveal much about racial identity and “Americanness” when mass immigration and increasingly restrictive immigration laws were redefining American society.

The Bank of England, established on the Dutch pattern in 1694, made possible the loans to the government which financed the war. Millions of pounds were instantly subscribed whenever the bank needed it, at 3½ per cent for a fifteen-year loan. There was no such financial security in France, where the Marine suffered from the lack of finance available to the King, who was the ultimate arbiter in the case of Prize appeals. The Admiralty remained averse to spending money to the last, but despite their caution, government funds kept being supported by the public, and the Treasury never ran out of resources. The huge sums dispersed by the Treasury as Head Money were testament to the vigour with which both private and Royal Navy vessels obeyed the injunction to ‘protect the trade and annoy the enemy’. Testament, too, to the incentive ‘the service’ had been given.

Trade between nations created wealth, on which the stability of the government depended. As we have seen, the question as to whether the vigorous activities of protection and annoyance on the ocean were legal or not was addressed by the leading law lords of the day. Insurance was expensive but essential and brokers at Lloyd's were informed of merchant vessels which took themselves out of convoys, and therefore into the hands of French privateers.

Introduction: The Wrest Circle

In the mid-eighteenth century, Wrest Park was the intellectual home of a literary circle that centred on its owners, Jemima Marchioness Grey (1723–97) and Philip Yorke (later 2nd Earl of Hardwicke) (1720–90). Wrest Park was Grey's familial estate, which she inherited upon the death of her grandfather, the Duke of Kent, in June 1740, only a fortnight after her marriage to Yorke. The marriage had been arranged as an alliance between two powerful Whig families, but it also proved to be a union of minds that brought together two bookish individuals who had both fostered close academic friendships in their adolescence. Quite unconventionally, owing to the mutual academic interests that characterised their marriage, Yorke and Grey brought together these like-minded friends and formed their own scholarly network, the ‘Society at Wrest’. On Grey's side, this consisted of her young aunt, Mary Gregory (nee Grey) (1719–61), and the Bluestocking, Catherine Talbot (1721–70). Yorke's connections would make up the lion's share of the group. The Yorkes were an academic family, and Philip's brother, Charles (1722–70), and sisters, Elizabeth (later Lady Anson) (1725– 60) and Margaret (later Heathcote) (1733–69), also became immersed in the intellectual life at Wrest. In this respect, the heterosocial culture of the Wrest Circle was akin to that of the Bluestocking salons in affording equal respect to its female participants, and there was even some cross-over, as Catherine Talbot belonged to both groups.

Television’s historical arc begins with its early years or “network era” when a handful of broadcasting channels and key companies dominated. American TV quickly adapted radio and movie strategies, saturating American homes by the 1960s. It created a shared national culture both through its storytelling and its function as a source of news information. But things in the 1980s shifted during the cable/satellite era when programming or “niche marketing” targeted narrower groups shaped by their interests, language, or social factors across dozens of channels. Television transformed again during the era of the Internet and subscription streaming. Its evolution from mass to micro audiences, from scheduled to on-demand experiences, and from domestic to international viewers has changed what was commercially viable, allowing for greater diversity across sexuality, race, ethnicity, and class lines. Throughout its production and reception changes, though, American TV has been a key cultural storyteller.

Introduction and Historical Background

This chapter demonstrates Jaques-Dalcroze's influence on German piano pedagogy during the first three decades of the twentieth century. So far, this topic has hardly been taken into account in historical research on music education. We illustrate that piano pedagogues adapted piano exercises explicitly by Jaques-Dalcroze, assimilated his impulses into their piano pedagogical thinking, and further developed them. A paradigmatic comment for this purpose stems from the piano pedagogue Frieda Schmidt-Maritz. In 1925 she wrote that Jaques-Dalcroze “has spread valuable seeds for developing all perspectives in music education, whose fruitfulness also proves its value where his concept is left behind.”

Jaques-Dalcroze's pedagogical considerations were strongly influenced by current pedagogical trends. Reform movements such as the Reformpädagogik (progressive education), the Jugendbewegung (youth movement), or the Kunsterziehungsbewegung (art education movement) permeated German piano pedagogy with a child-centered approach. Thus, Jaques-Dalcroze applied analogous theorems to these movements in his approach to piano pedagogy, including illustration, self-activity, creativity, and musical interaction or playful learning. He states in 1907: “From the child, through close observation of the child's nature and the invention of rhythmic games for the child, a wide horizon has opened up for us.” In contrast to the piano teaching and learning of the nineteenth century, the singing and playing child with his or her natural movements is now raised to a musical ideal. According to Anna Epping, a student of Jaques-Dalcroze who implemented many of his postulates and exercises in piano teaching, the desire for musical activity and thus piano playing can be seen as inherent in every human being.

This chapter focuses on the financial-market effects of QT. It analyses how government bond yields changed on QE and QT announcement dates and compare the effects of QT announcements with those of QE

This article opens with a long review of the opera La Jacquerie by Joseph Mainzer, premiered at the Théâtre de la Renaissance three days earlier. The concluding paragraphs on other subjects are translated here as being of more interest to modern readers.

One of the most distinguished members of the Théâtre de la Renaissance orchestra, M. Coche, professor of flute at the Conservatoire, has just published a handbook for Boehm's new flute. This publication is very useful: it will be helpful to professionals and amateurs who want to familiarize themselves in a short time with the new fingering, made necessary by the changes that Boehm and Gordon have so successfully brought to the ancient flute, which almost all younger players have now abandoned. M. Gouffé had previously written a work for the four-string bass that was similar to M. Coche's for the Boehm flute. The system on which his treatise is based could lead players of this important element of our orchestras to achieve an even more desirable level of execution because, while making the fingering of the instrument easier, it extends its range by two notes at the bottom, whose value will not escape composers.

I don't presume to talk about Doelher's great études, which have just been published. As compositions, they could be appreciated last winter in all the concerts given by that marvellous pianist, and connoisseurs were quick to recognize the musical merit of several among them, quite independently of the composer's prestige as a pianist.

When war between Scotland and England resumed in 1332, accompanied by a recommencement of the Bruce-Balliol civil conflict within Scotland itself, possession of the kingdom's towns became a key objective for Balliol/ English forces. These sites provided legitimacy for Balliol pretensions of kingship over a unified territory and administrative sites from which to govern territories ostensibly under its control. Towns were key sources of economic power and potential prosperity with which to aid the war effort, and acted as reception points for incoming goods, as well as supply depots for forthcoming campaigns . In the principal years of conflict (1332–41) many of these towns were garrisoned, and the most prominent examples found themselves in close contact with an English or Anglo-Scottish force which was there ostensibly for the community's protection from attack. This is often written about in secondary sources in terms of occupation, but to what extent was this really the case? What were relations like between townsmen and soldiers? And to what extent was there a potential for such towns to gain from their wartime experience, as opposed to the assumption that war led to invariable loss?

This chapter will consider the above questions in relation to the Scottish urban experience of war in this period. Although a relatively brief timescale, the period is well-served by English administrative record evidence that gives important insight into the relationship between Scottish towns and those in whose care and under whose control they were placed.

The well-worn stereotypes of eighteenth-century theatrical comedy are an unlikely place to look for accurate depictions of Welsh revivalism. But Richard Cumberland's play The Fashionable Lover (1772) nevertheless includes one character who embodies aspects of the revival that remain under-emphasized. Doctor Druid (for that is his name) is a tutor to the profligate Lord Abbeville, and a minor comic player in the intrigues that drive the plot. But along with being an antiquarian ‘gentleman from a very antient family in North Wales’, he is also an obsessive naturalist – an allround pedantic virtuoso, just as likely to trap you in ‘the discussion of a cockle-shell, or the dissection of a butterfly's wing’ as he is to spend time ‘differing and disputing truly about pedigrees and antiquities’, or declaring himself ‘as pig and as pold’ as the cod-medieval Welsh ‘King Gryffyn’. The ‘Doctor’, from one angle, is simply a mixture of stock characters: the choleric, ancestry-obsessed Welshman who swaps his b's for p’s, the desiccated joyless antiquarian ‘rak’d […] out of the cinders of Mount Vesuvius’, and the scientific pedant obsessed with pointless obscurities. But Doctor Druid nevertheless succeeds in capturing an important element of this period's revivalism: namely, the combined revivalist interest in antiquarian history and enlightenment natural science.

Two scholarly works associated with the society of Cymmrodorion were published in 1766, which demonstrate this combination of interests perfectly. One, in keeping with the antiquarian reputation of Welsh cultural revivalism, was a work centred on ancient druidism: a second edition of Henry Rowlands’ Mona Antiqua Restaurata (1723), the foremost Welsh druidic history from the early eighteenth century, republished by Cymmrodorion member Henry Owen, and with corrections ascribed to the society's co-founder Lewis Morris.