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Migrant CityA New History of London$
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Panikos Panayi

Print publication date: 2020

Print ISBN-13: 9780300210972

Published to Yale Scholarship Online: September 2020

DOI: 10.12987/yale/9780300210972.001.0001

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PRINTED FROM YALE SCHOLARSHIP ONLINE (www.yale.universitypressscholarship.com). (c) Copyright Yale University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in YSO for personal use.date: 27 July 2021

Handel to Tempah

Handel to Tempah

Chapter:
(p.281) 11 Handel to Tempah
Source:
Migrant City
Author(s):

Panikos Panayi

Publisher:
Yale University Press
DOI:10.12987/yale/9780300210972.003.0011

This chapter explores how migrants have contributed to the evolution of music in London. Despite episodes of xenophobia in the London musical scene, xenophilia became stronger, partly driven by the fact that both music and musicians inevitably migrate. This is so that, while national traditions of music may emerge, the process of cultural transfer involving both sound and people mean that such traditions cannot remain sealed off from external influences, even if they may develop national-level identities, at least in the short run. While music and musicians crossed European boundaries, during the twentieth century both performers and their tunes have increasingly spanned global and consequently racial divides. The German assertion that nineteenth-century Britain constituted a ‘Land ohne Musik’ (land without music), while an exaggeration, partly explains the arrival of foreign musicians to Victorian London and the eras before and since. The constant settlement and visits by musicians to the British capital since the early eighteenth century meant that London did not become a city without music, even if the tunes and those who played them often originated from abroad.

Keywords:   music, classical music, street music, black music, Henry Mayhew, xenophilia, cultural transfer, British music, London

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