Simon D.I. Fleming holds a PhD in music from Durham University, and formerly taught in the Department of Music. He is currently Head of Music at the Queen Elizabeth Sixth Form College, Darlington, UK.

Martin Perkins holds a PhD from the Royal Birmingham Conservatoire, Birmingham City Unveristy, where he lectures in music history, theory, and performance.

Chapter 1. Introduction. Simon D. I. Fleming and Matin Perkins

Section 1. The Production of Musical Works by Subscription

Chapter 2. Thomas Mace and the Publication by Subscription of Musick's Monument (1676). Stephanie Carter

Chapter 3. Cecilia Maria Barthélemon's Three Sonatas, op 1. Michael Kassler

Chapter 4. Maria Hester Park and her Subscribers. Lise Karin Meling

Chapter 5. Publishing Music by Subscription in Eighteenth-Century Edinburgh: John Watlen and his Collections of Circus Tunes. Simon D. I. Fleming

Chapter 6. William Felton and John Pixell: The Musical Circles of the Vicar Composer. Simon D. I. Fleming

Section 2. The Consumption of Music Published by Subscription

Chapter 7. Gentry, Servants, and Musicians: A Network of Subscribers in North-East England. Roz Southey

Chapter 8. The Music-Making of the Bridgeman Family, Weston Park. Martin Perkins

Chapter 9. A Big Data Study: Musical Societies in Subscription Lists. Simon D. I. Fleming and Martin Perkins

Chapter 10. Strathspeys, Reels, and Instrumental Airs: A National Product. Karen E. McAulay

Chapter 11. Profiting from the Slave Economy and Subscribing to Music: The British Experience in the Eighteenth Century. David Hunter

Chapter 12. Foreign Composers, the Subscription Market, and the Popularity of Continental Music in Eighteenth-Century Britain. Simon D. I. Fleming