It is a truth widely acknowledged that, while part of a uniquely diverse and vibrant musical environment, the achievements of home-grown British instrumentalists in the nineteenth century gave little cause for national pride

Music in Britain: a social and cultural context: The consumer society; The musician's lot; Music and the moral dimension: 'damned if you do, damned if you don't'; Musical appreciation; 'Artistic awakening' or 'damnable flood'? The popularity of music and the spread of opportunity; Music education and 'the age of improvement': The legacy of the 18th century; The battle of the sexes; Theory or practice; science or art?; Vocal and instrumental; Conservatism and innovation; The 19th century; State laissez-faire and the status quo; Private enterprise and philanthropic zeal; The 'tabooed' art; New horizons; The 'flood' and popular music education; Instrumental teaching: Instruction methods; Apprenticeships; Self-instruction and private tuition; Institutions and group tuition; Styles and personalities; Native and foreign; 'Good taste'; Sources: general trends; The vocal model; The violin family: Violinists in Britain; The violin and bow; Violin technique; The violin: stigma and solace; The viola, violencello and double bass; Other intruments: Keyboard; Wind; Brass; Plucked strings and miscellaneous; Institutions: Prior to c.1850; Conservatories; Schools; Other; c.1850-c.1900; Conservatories; Schools; Other; Conclusion: realized potential and stifled ambition; Chronology of principal British instrumental treatises 1780-1900; Appendix; Chronology of 19th-century British music education.