Street Music In The Metropolis

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Excerpt from Street Music in the Metropolis: Correspondence and Observations on the Existing Law, and Proposed Amendments As I am well aware of the engrossing nature of the pursuits which occupy the attention of Members of both Houses of Parliament, I have thought it ad visable to publish here, in a form that may be readily perused, a pre'cis of the Street Music Griev ance, containing extracts from the Letters and Statements of a few of my correspondents: their intrinsic interest will, I trust, be a sufficient apology for their publication. I have also included extracts from newspapers and reviews, and reports of some of the Police Magistrates' decisions; all which evi dence will enable any Member of the Legislature and the public generally to form a correct Opinion of the real state of the existing law, and will demonstrate what great obstacles are opposed by street music to the progress of art, science, and literature; and what torm'ents are infiicted on the studious, the sensitive, and the afflicted. At the same time, I have embraced the opportunity of explaining what the Bill I have introduced into the House of Commons really is intended to effect, as hitherto a great deal of mis conception has existed with regard to its scope and provisions. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In 'Sounds of the Metropolis', Derek Scott argues that it was in the 19th century that the first popular music revolution occurred. He illustrates how a distinct group of popular styles first began to challenge the classical tradition and assert their own values and independence.

Far from the hushed restraint we associate with the Victorians, their world pulsated with sound. This book shows how, in more ways than one, Victorians were hearing things. John Picker draws upon literary and scientific works to recapture the Victorian sense of aural discovery.