In 1911, Rosa Newmarch was profiled by the anonymous contributor “M.” in The Musical Times. This article reflects Newmarch’s status during her lifetime, providing an outline of her education, language studies and interest in Russian music, reflections on programme-note writing, and examples of her analytical notes and poetry. Note how the article blurs the lines between what we might consider academic scholarship, public musicology/theory or music appreciation, and creative writing. I am struck by the value “M.” places on Newmarch’s understanding of musical emotion as a component of both historical and analytical work.
For those with JSTOR access, “M.’s” article is available here. (Even the free preview gives some idea of how program notes and similar explanatory materials were understood during Newmarch’s career.)
Readers might also be interested in my article on Newmarch’s analytical writings and musical gossip for the blog of the History of Music Theory Study/Interest Group, which provides excerpts from some historical sources by, about, and in conversation with her work and discussion of how she approached writing for different audiences.