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Whilst the early modern period has long been recognized as witnessing a growth in trade and consumerism, the majority of studies to date have tended to focus upon London and southern England. In order to provide a more balanced understanding of the dynamics at work on a national level, this book explores the local economy and waterborne trades of Newcastle and the River Tyne, in North East England. Drawing upon a variety of primary sources - including parish records, probate inventories, Newcastle Exchequer port books and the previously unpublished diary of an apprentice hostman - none of which have been examined previously in this context, the study adds significantly to our understanding of the growing community in North East England. In particular, it underlines the expansion of a thriving middling class with an associated culture of consumption driving a rapid increase in the import, and often re-export of a wide range of luxury items of food, clothing and soft furnishings. As the coal trade and a flourishing general trade with London and other home and overseas ports grew, the book highlights the major impact upon the size and variety of work in the port, and the subsequent increasing size and complexity of the water trades community and its associated business networks.
This absorbing study of Elizabeth Gaskell's early life up to her marriage in 1832 is based almost entirely on new evidence. Also, using parish records, marriage settlements, property transfers, wills, record office documents, letters, journals and private papers, John Chapple has recreated the background of one of the nineteenth century's greatest novelists.
Charles Avison's Essay on Musical Expression, first published in 1752, is a major contribution to the debate on musical aesthetics which developed in the course of the 18th century. Considered by Charles Burney as the first essay devoted to 'musical criticism' proper, it established the primary importance of 'expression' and reconsidered the relative importance of harmony and melody. Immediately after its publication it was followed by William Hayes's Remarks (1753), to which Avison himself retorted in his Reply. Taken together these three texts offer a fascinating insight into the debate that raged in the 18th century between the promoters of the so-called 'ancient music' (such as Hayes) and the more 'modern' musicians. Beyond matters of taste, what was at stake in Avison's theoretical contribution was the assertion that the individual's response to music ultimately mattered more than the dry rules established by professional musicians. Avison also wrote several prefaces to the published editions of his own musical compositions. This volume reprints these prefaces and advertisements together with his Essay to provide an interesting view of eighteenth-century conceptions of composition and performance, and a complete survey of Avison's theory of music.