When Americans declared independence in 1776, they cited King George III "for quartering large bodies of armed troops among us." In Quarters, John Gilbert McCurdy explores the social and political history behind the charge, offering an authoritative account of the housing of British soldiers in America. Providing new interpretations and analysis of the Quartering Act of 1765, McCurdy sheds light on a misunderstood aspect of the American Revolution. Quarters unearths the vivid debate in eighteenth-century America over the meaning of place. It asks why the previously uncontroversial act of accommodating soldiers in one's house became an unconstitutional act. In so doing, Quarters reveals new dimensions of the origins of Americans' right to privacy. It also traces the transformation of military geography in the lead up to independence, asking how barracks changed cities and how attempts to reorder the empire and the borderland led the colonists to imagine a new nation. Quarters emphatically refutes the idea that the Quartering Act forced British soldiers in colonial houses, demonstrates the effectiveness of the Quartering Act at generating revenue, and examines aspects of the law long ignored, such as its application in the backcountry and its role in shaping Canadian provinces. Above all, Quarters argues that the lessons of accommodating British troops outlasted the Revolutionary War, profoundly affecting American notions of place. McCurdy shows that the Quartering Act had significant ramifications, codified in the Third Amendment, for contemporary ideas of the home as a place of domestic privacy, the city as a place without troops, and a nation with a civilian-led military.

In contrast to today's music industry, whose principal products are recorded songs sold to customers round the world, the music trade in Georgian England was based upon London firms that published and sold printed music and manufactured and sold instruments on which this music could be played. The destruction of business records and other primary sources has hampered investigation of this trade, but recent research into legal proceedings, apprenticeship registers, surviving correspondence and other archived documentation has enabled aspects of its workings to be reconstructed. The first part of the book deals with Longman & Broderip, arguably the foremost English music seller in the late eighteenth century, and the firm's two successors - Broderip & Wilkinson and Muzio Clementi's variously styled partnerships - who carried on after Longman & Broderip's assets were divided in 1798. The next part shows how a rival music seller, John Bland, and his successors, used textual and thematic catalogues to advertise their publications. This is followed by a comprehensive review of the development of musical copyright in this period, a report of efforts by a leading inventor, Charles 3rd Earl Stanhope, to transform the ways in which music was printed and recorded, and a study of Georg Jacob Vollweiler's endeavour to introduce music lithography into England. The book should appeal not only to music historians but also to readers interested in English business history, publishing history and legal history between 1714 and 1830.