Date of Award

2015

Type

Thesis

Major

Master of Art in History

Degree Type

Master of Art in History

Department

Art Department

First Advisor

Dr. Neal McCrillis

Second Advisor

Dr. Jim Owen

Third Advisor

Dr. John Ellisor

Abstract

In Great Britain during the eighteenth century there existed a system of patronage of the arts for the use as political currency. This system experienced a shift in the early part of the eighteenth century. The form and reasons for artistic patronages changed as political and cultural trends shifted in this "long" eighteenth century. Prior to the development of the "public sphere" in Great Britain, patrons of the arts used music to emphasize their power and authority.1 Music was applied as a means to showcase the grandeur of the nobility and their distinction from others in society. In the eighteenth century, the movement toward the "public sphere" and the consolidation of power in Britain led to a shift in the use of music as the nobility sought personal displays of wealth. Music as a cultural production no longer existed as a luxurious pastime for patrons, but was employed as a type of currency. Patrons could no longer afford to support the cultural production of music as a display of their wealth, but instead utilized it to cultivate political support. Musicians as well began to look away from the old system of patronage and towards the "public sphere" for support and patronage. This alteration in the system of patronage would change the cultural production of music to a form of currency for political means. This development followed the transformations in politics, culture, and identity in Britain after a period of stagnation between 1740 to 1780.

My project will challenge the idea that noble and royal patronage began to wane after the early eighteenth century, by viewing the royal patronage of music as a form of political currency used to establish and solidify political unity in Great Britain. My work explores culture, patronage, politics, and music as modes of political currency. My study focuses on the Duke of Leeds and his support of music during the eighteenth century. Examining the shifting atmosphere of culture, politics, and identity, in conjunction with Leeds' endeavors as a patron gives a sense of how music was used as political currency and for political ends. Furthermore, I consider how patronage of music was not limited to the aristocracy, but also spread across British society as a means to cultivate British identity, which also supported Leeds' political agenda. I therefore explore the connections that were made by those who sponsored musical events and those who attended concerts. As I show, patronage of music was a method for achieving political consensus during the eighteenth century.

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