In 1849, the working-class poet Eliza Cook (1818–89) expanded her international profile by venturing into weekly periodical publication with Eliza Cook's Journal. Not only was this the first British journal named after a female editor but it also placed an unusual emphasis on music—unusual not least because few women in that epoch were given the opportunity to participate in the broader critical discourses on music. Cook's poetry was already widely disseminated through various musical settings by composers from William Balfe to Henry Russell; in her new journal, music further emerged as central to her philosophy of liberation for all. Placing street musicians alongside opera and salon concerts in an exhibition of remarkably eclectic taste, Cook saw the propensity for music making in all layers of society. She regarded musical culture as a soundscape of experience, emotion, and agency to which she, and all those from the laboring classes, not only had a right to access, engage in, and share but was part of their own innate being. Music symbolized imagination, freedom from the mundane, and limitless human potential. Efforts to secure music for “the people” were thus indissolubly linked to broader political rights for suffrage and equality.

中文翻译：

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“以‘人民’强大的名义大声而开放的演讲”：伊丽莎·库克，音乐与政治

1849 年，工人阶级诗人伊丽莎·库克 (Eliza Cook，1818-89 年) 涉足每周出版的期刊，从而扩大了她的国际知名度。伊丽莎·库克的日记. 这不仅是第一本以女性编辑命名的英国期刊，而且它还对音乐给予了不同寻常的重视——这很不寻常，尤其是因为那个时代很少有女性有机会参与更广泛的音乐批评话语。从威廉·巴尔夫到亨利·罗素的作曲家，库克的诗歌已经通过各种音乐环境广泛传播；在她的新期刊中，音乐进一步成为她的全民解放哲学的核心。库克将街头音乐家与歌剧和沙龙音乐会一起安排在一个极具折衷品味的展览中，他看到了社会各个阶层的音乐创作倾向。她认为音乐文化是一种体验、情感和能动性的音景，她和所有来自劳动阶级的人不仅有权进入、参与、和分享，但它们是他们与生俱来的一部分。音乐象征着想象力、摆脱世俗的自由和无限的人类潜力。因此，为“人民”争取音乐的努力与争取选举权和平等的更广泛的政治权利密不可分。