The Grand Tour was the highpoint of the education of the sons of many members of the British upper classes. Despite its contributions to British culture, the Tour came in for contemporary objection and satire. More recently Richard Leppert has used his construct of 18th-century British ideology of gender, class and music to argue that men’s musical activities on the Tour were devalued. This article re-assesses the role of music-making of males on the Grand Tour. It questions the basis of Leppert’s account, and documents an array of paintings depicting Grand Tourists with instruments. The paintings range from highly finished, formal portraits by Pompeo Batoni, to the personal caricatures by Joshua Reynolds, and the informal chalk sketches by Thomas Patch. The article also uses the newly discovered account book of the Hon. Charles Stanhope to show the attention and expenses he devoted to music while on his Grand Tour.

中文翻译：

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大巡演中的音乐、男人和阳刚之气：意大利的英国长笛演奏家

大巡回赛是英国上流社会许多成员的儿子受教育的高峰。尽管巡回赛对英国文化做出了贡献，但巡回赛还是受到了当代的反对和讽刺。最近，理查德·莱珀特 (Richard Leppert) 使用他对 18 世纪英国性别、阶级和音乐意识形态的建构来辩称，男子在巡回赛中的音乐活动被贬低了。本文重新评估了男性音乐制作在 Grand Tour 中的作用。它质疑莱珀特叙述的基础，并记录了一系列描绘盛大游客用乐器的画作。这些画作从庞培巴托尼的高度完成的正式肖像，到约书亚雷诺兹的个人漫画，以及托马斯帕奇的非正式粉笔素描。文章还使用了Hon的新发现的账簿。