Aspects of MusicaLity in the industrial regions of Lancashire and Yorkshire between 1835 and 1914 with reference to its educational, sociological and religious basis

Abstract

This study examines the musical life of Lancashire and Yorkshire people during the Industrial Revolution and shows how music became involved in current social, educational and religious changes. Changes also took place in music making itself, and these are observed through two contrasted case studies which show the transition from singing which took place informally in the semi-rural communities, where the singers used to meet in each others homes and perform in local churches, to the formal and institutionalised Choral Societies of the prosperous industrial towns. Popular song underwent a similar transition as the songs of the ballad singer gave way to those of the Music Hall. The evolution of public concerts further reflects the effects upon music of the changes in class and social structure which came with industrialisation and urbanisation. Attitudes changed too, and aspects of the Victorian ethos such as competition and self-help as a means of 'getting on' were accommodated into music’s wide-ranging rationale. These elements were evident in the brass band movement as well as in Competitive Festivals. Music was capable of such a varied role in society that it became to some extent 'All things to all men' - a cause worthy to be championed by educationalists and social reformers alike. Music therefore became an important ingredient in the developing state system of education, its most notable feature being the development of a systematic method of sight singing - Tonic Solfa. The Church had long been a pioneer in education and a significant aspect of this related to the training of musicians to provide music for the Services. This interest continued and widened, and the musical, educational, sociological and religious links were even more strongly forged as increasing numbers of people became involved in religious choral music.