"A guide to the press of the United Kingdom and to the principal publications of Europe, Australia, the Far East, Gulf States, and the U.S.A.

Colonial administrator, writer, explorer, Buddhist, and friend to China's last emperor, Sir Reginald Johnston (1874–1938) was a distinguished sinologist with a tangled love and family life that he kept secret even from his closest friends. Born and educated in Edinburgh, he began his career in the colony of Hong Kong and eventually became Commissioner of the remote British leased territory of Weihai in northern China. He travelled widely and, during a break from colonial service, served as tutor and advisor to Puyi, the deposed emperor. As the only foreigner allowed to work in the Forbidden City, he wrote the classic account of the last days of the Qing Dynasty—Twilight in the Forbidden City. Granted unique access to Johnston's extensive personal papers, once thought to be lost, Shiona Airlie tells the life of a complex and sensitive character whose career made a deep impression on 20th-century China.

Until the nineteenth century, music occupied a marginal place in British universities. Degrees were awarded by Oxford and Cambridge, but students (and often professors) were not resident, and there were few formal lectures. It was not until a benefaction initiated the creation of a professorship of music at the University of Edinburgh, in the early nineteenth century, that the idea of music as a university discipline commanded serious consideration. The debates that ensued considered not only music’s identity as art and science, but also the broader function of the university within education and society. Rosemary Golding traces the responses of some of the key players in musical and academic culture to the problems surrounding the establishment of music as an academic discipline. The focus is on four universities: Edinburgh, Oxford, Cambridge and London. The different institutional contexts, and the approaches taken to music in each university, showcase the various issues surrounding music’s academic identity, as well as wider problems of status and professionalism. In examining the way music challenged conceptions of education and professional identity in the nineteenth century, the book also sheds light on the way the academic study of music continues to challenge modern approaches to music and university education.