The 360 songs of the 103 surviving issues of John Walsh's Monthly Mask of Vocal Music 1702–1711 were published in a facsimile edition in 2007 with a commentary and indexes by the authors of this article. Walsh revived his periodical from July 1717 to March 1723 and during the following few years he occasionally employed Monthly Mask title-pages for sets of Italian opera songs. John Walsh the younger revived the periodical between May 1737 and January 1738. This article discusses the publishing history of the post-1711 runs, throwing interesting light on competition between music publishers and on the firm's relationship with Handel, and provides a catalogue giving transcriptions of first lines and titles, with additional information on composers, authors and performers, as well as full indexes.

In the years 1801–6 a series of lawsuits were filed in various London courts involving many of England's top piano manufacturers. Swirling around a lawsuit by the Anglo-Irish piano inventor William Southwell against John and James Shudi Broadwood for infringement of his seminal 1794 patent were actions involving the opportunistic James Longman, his brother John Longman, his partner Francis Fane Broderip, and his successors, Muzio Clementi & Co., as well as George Astor, the firm of Culliford, Rolfe & Barrow, August Leukfeld, and George Wilkinson. In this article the authors reconstruct the issues and outcomes of these legal actions and their ramifications for William Southwell, who emerges as a victim of his own inventive success, and the nascent English piano industry. We draw upon the original court papers, as well as a family memoir of Southwell, the parish record of his burial in 1825, the 1802 partnership agreement of Southwell & Co., contemporary newspaper notices, prison records, apprenticeship records, the wills of several of the makers, and newly located original drawings and descriptions for patents by Southwell (1794) and his son, William junior (1837), held at The National Archives, Kew.

In 1897, the New Brighton Tower and its Gardens opened for business. This vast leisure precinct attracted millions of visitors each year and provided a host of leisure activities including ballroom dancing, acrobatics, exhibitions of foreign and exotic cultures and orchestral concerts. This article focuses on the first four years of the orchestra's life when it was conducted by Granville Bantock, the only period of the orchestra's history for which many programmes have survived and from which a detailed reconstruction of the orchestra's repertory and programming can be made. The article discusses how class division, press propaganda, moral panics and commercial imperatives affected the programming of so-called ‘serious’ or classical music.