Acknowledgements
This book has its origins in a two-day colloquium, ‘Sound and Sense in Britain, 1770–1840’, held at the Heyman Center for the Humanities at Columbia University on 12–13 May 2017. This event was jointly sponsored by the Society of Fellows and Heyman Center at Columbia and the European Research Council-funded project ‘Music in London, 1800–1851’ at King’s College London, directed by Roger Parker. We are extremely grateful to all those who took part in this event for the spirit of interdisciplinary enquiry they brought to the subject and for a series of inspiring and generative conversations. Beyond the authors in the present volume, we would particularly like to thank Emily Bloom, Rowan Boyson, Eileen Gillooly, Arden Hegele, David Kennerley, Ellen Lockhart, Nicholas Mathew, Benjamin Steege, Dustin D. Stewart, Sejal Sutaria, Kay Zhang, and the fellows at the Heyman Center for the Humanities at Columbia University. We are also grateful to Emma Dillon, Katherine Hambridge, Clare Pettitt, Anna Snaith, Angela Waplington, Gavin Williams, Flora Willson, members of the ‘Shows of London’ research seminar, Ian Newman and members of the ‘Nineteenth-Century Song Club’, and students on the MA in Eighteenth-Century Studies at King’s College London, as well as our wonderfully supportive team in Frankfurt, and in particular Maja Fricke, Diana Gleiss, and Kerstin Schoof, and Tina Planck in Munich.
The conversations continued, in New York, London, and Frankfurt, and then online. Throughout this process, we are indebted above to the authors assembled here for their continued commitment to the project and for their richly varied and inspiring approaches to the topic. Special thanks are due to Jim Chandler, for believing in this project from the beginning and for helping us to find a home for it within the superb company of Cambridge Studies in Romanticism, and to Roger Parker, for his unflagging enthusiasm and unrivalled editorial insight. We are also very grateful to Rio Hartwell for his diligent and creative eye, and to David E. Cohen and Danny K. S. Walden for generously providing feedback on various sections of this volume. We would also like to thank Bethany Thomas and George Laver at Cambridge University Press for their support and advice, Fiona Little for her meticulous copyediting, and the two anonymous readers of the manuscript for the Press for their perceptive comments on the manuscript.
We gratefully acknowledge the generous financial and material support we were provided by King’s College London, the European Research Council, the Society of Fellows at the Heyman Center for the Humanities at Columbia University, the Max Planck Gesellschaft, and the Max Planck Institute for Empirical Aesthetics.
Finally, we would like to acknowledge our families, and in particular Natasha Grande and Nori Jacoby, for their constant patience and support.
This book is dedicated to Morwenna, Uriel, and Gwendolen, who joined our lives and enriched them beyond measure in the years in which we were working on this project.
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