I.) List of musical examples

Example 1: The opening of the “trio” section of the last  movement of Clementi’s Op. 7 No. 2, an example of the kind  of octaves that Mozart mentions in his letter of June 7, 1783.  This is taken from a copy of the Artaria print that Mozart  might have seen. 47

Example 2: A radical enharmonic modulation in the final  movement of Op. 7 No. 3. This is taken from a copy of the  Artaria print that Mozart might have seen. 50

Example 3: Performative characteristics in Schroeter’s  Op. 1/1/i (1777), mm. 1–53. 84

Example 4: Imaginary first contact with Clementi’s Op. 2/2/i  (1779), mm. 1–39. 87

Example 5: Imaginary first contact with Clementi’s Op. 2/6/i  (1779), mm. 1–23. 89

Example 6: The “Black joke” (c.1730) and Clementi’s 1777  version, mm. 1–17, compared. 128

Example 7: Muzio Clementi, ending strategies in 1777 and  c.1824 versions of the “Black joke” with a “Black joke” allusion  in a 1794 sonata (Op. 33/1/ii). 129

Example 8: Thirds in Pepusch’s “Overture in the beggar’s  opera,” transcribed by Thomas Arne (c.1769). 137

Example 9: Clementi, scale-exercise in G-sharp minor (1811).  Praxis/theoria united: an infinitely smooth (sempre legato) and  infinitely long Möbius strip of counterpoint formulated as a  scale-exercise. This is a canon in contrary motion at the sixth. 187

Example 10: Op. 11/ii, Larghetto con espressione, originally published in London, John Kerpen, c.1784, and as revised  by Clementi in the Oeuvres complettes (Leipzig, Breitkopf &  Härtel, 1804). 201

Example 11: Op. 14/3/iii (1786 and 1815 versions compared). 202

Example 12: Op. 13/5/i (1786 and 1815 versions compared). 204–6

Example 13: Clementi’s Op. 7/2/i, Allegro (London, printed for  the Author, 1783), p.10–11. 211

Example 14: Clementi’s Op. 34/1/iii, Finale: allegro (London,  printed for the Author, 1795), p.9. 214–15

Example 15: Clementi’s Op. 11/iii (London, Kerpen, 1784), p.8. 216

Example 16: Jane Mary Guest, Adagio con molto espressione from  Sonata for the piano forte, with an accompaniment for the violin ad  libitum (London, Clementi & Co., 1807). 223

Example 17: Muzio Clementi, Didone abbandonata: scena tragica (Op. 50/2/ii) (London, Clementi & Co., 1821), p.49. 224

Example 18: Clementi’s Op. 2/4/i, mm. 1–21 (London,  Welcker, 1779). 238

Example 19: Clementi’s Op. 2/4/i, mm. 1–21, as revised in  1807. Nouvelle édition […] avec des augmentations et améliorations  considérables, faites par l’auteur pendant son séjour à Vienne (Vienna, Artaria, 1807). 252

Example 20: Clementi’s Op. 25/4/i from 1790, as edited by  Méreaux (1864–1867). 255

II.) List of tables

Table 1: Synonymous terms relating to “power and skill in  performing music” for the English language (from the Historical  thesaurus of the Oxford English dictionary, ed. Christian Kay et al.,  Oxford, 2009). 55

Table 2: Ideological dualities for women in Euterpe, or Remarks  on the use and abuse of music, as a part of modern education (c.1779).  The ellipses indicate contiguous sentences. 96–97

Table 3: Ideological dualities for men in Euterpe, or Remarks on  the use and abuse of music, as a part of modern education (c.1779). The  ellipses indicate contiguous sentences. 98–99

Table 4: Annotations by “J. W.” in Rev. Thomas Gisborne,  An Enquiry into the duties of the female sex (London, Printed for  T. Cadell jun. & W. Davies, 1797), in a copy in Fisher Library,  University of Sydney, Australia. 104

Table 5: Lyrics taken from “The original coal-black joke.”  British Museum, G. 316. e. f.99. 125

Table 6: Op. 1, the “Black joke,” and Op. 2 compared. 135

Table 7: Typical repertoire of a female keyboardist in the  1770s. Music (now lost) belonging to “Miss Orr 1778” as  documented by Eric Halfpenny in 1946. 157

Table 8: Maria’s subjectivity and complementary musical  genres in Wollstonecraft’s The Wrongs of woman (published  posthumously in 1798). 177

III.) List of figures o

Figure 1: Detail from an undated sketch with two Latin  aphorisms attributed to Martial in Clementi’s hand. Photo by  author (Library of Congress Music Division, Washington, DC). 7

Figure 2: καταρτιζοντας in Clementi’s hand from Matthew  4.21, “mending.” Photo by author (Library of Congress Music  Division, Washington, DC). 9

Figure 3: “Miss Lushington,” top right-hand corner. Photo by  author (Library of Congress Music Division, Washington, DC). 10

Figure 4: Graph of ideological differences regarding keyboard  practicing/music education in thirty-six conduct books and  treatises, 1741–1838. See the Appendix for all citations. 110

Figure 5: A nineteenth-century pianist “misreads” and  “misplays” the “Daily practice,” dividing the practice over  several days rather than one. Here she pledges to practice  D-flat major on Saturday. Photo by author (Library of  Congress Music Division, Washington, DC). 116

Figure 6: Detail from plate 3 of William Hogarth’s Rake’s  progress (1735). Google Art Project at English Wikipedia / CC  BY–SA (https://g.co/arts/8eJpNmrg5qGvcoz56). 124

Figure 7: Awkward, painful position of the left hand in the  final fatiguing measures of Clementi’s “Black joke” (1777).  Clementi repeats the position for two measures and notates  that the first and fifth finger hold the octave as the second  finger taps out the dissonant leading note. Photo by author.  Photographed on a square piano by Johannes Zumpe and  Gabriel Buntebart, London, 1776 (National Music Museum, University of South Dakota, Vermillion; cat. no. NMM 3586;  Rawlins fund, 1985) with the kind permission of John Koster,  curator. 133

Figure 8: Predominant characteristics of the musical  preferences of male and female amateurs in English domestic  keyboard culture, c.1770. 170

Figure 9: A schematic map of the social field of English  keyboard culture around 1779, after Bourdieu (“The field of  cultural production, or the economic world reversed,” in The  Field of cultural production, ed. Randal Johnson, New York, 1993,  p.29–73). 179

Figure 10: “A musical definition,” in A. F. C. Kollmann’s  Quarterly musical register (1812), from Michael Kassler,  A. F. C. Kollmann’s “Quarterly musical register” (1812): an annotated  edition with an introduction to his life and works (Aldershot, 2008). 189

Figure 11: Eighteenth-century fingerings in a copy of  Clementi’s Op. 23/2/iii currently housed in the Library of  Congress Music Division, Washington, DC. Photo by author,  with fingerings enhanced for clarity. 227