Classicism and Romanticism are frequently used as a shorthand to designate the stylistic and aesthetic shifts that occurred as the eighteenth gave way to the nineteenth century. However, this neat picture blurs as one delves into the subject. Not only did Romantic musicians learn the foundations of harmony, phrasing, and texture from their predecessors, but many of the styles of innocent naïveté or exuberant striving beloved by Romantics emerged from specific eighteenth-century genre contexts, including opera, the fantasy, folk song, and church music. Change did happen, of course. Not only did the ethical concerns of the eighteenth century turn towards metaphysical ones in the nineteenth, but the social and institutional divides that had long separated musicians and writers began to lessen. As a result, musicians and writers learned to admire and emulate what each believed the other excelled at.

This chapter deals with women’s roles in the religious life of their cities, both as cult officials and as devotees. Apart from the Vestals, Roman cities had priestesses of a few, mostly female, deities, such as Ceres, Venus, Tellus and Juno, but also Isis, Cybele and Bona Dea. Priestesses of the imperial cult are amply attested accross the Roman West (but not in Rome) serving both the living and the deified empresses. They were mostly fromwealthy families of the local elite. Apart from priesthoods, a wide range of lesser religious functions were open to women of lower rank, most of them paid. For the performance of religious ceremonies, we find female musicians, dancers, basket-bearers and sacrificial attendants, as well as magistrae and ministrae, female temple-wardens and keepers of sacrificial animals. The last part of the chapter offers a sample of their dedications to male and female deities, both Roman and local, thus giving an impression of their religious allegiancies and their participation in rituals.

Underlines that it is time to recognise the wartime endeavours of British musicians who served King and Country during the Great War. Amongst so much fear and death, music exuded life, purpose, identity and belonging. Music was not ephemeral; in all its different forms music was an essential and highly valued part of everyday life in Britain’s armed forces during the Great War.