The London Inventions Exhibition of 1885 was the only exhibition of the period to have an entire division devoted to music. Encompassing the historical loan collection of ‘ancient’ musical instruments, a vast collection of newly manufactured instruments, and concerts given by soloists, early music troupes, orchestras, bands in the gardens, and non-Western musical ensembles, it was by far the most extensive representation of ‘music’ of any exhibition in this study. But the narratives that developed around the music division, particularly in terms justifying such an immense display, demonstrate two conflicting points of view, both of which were reflected in the speeches given at the Exhibition's opening ceremony. On one hand, music was to be promoted in its own right, as an art-form of value and importance, finally getting the recognition it deserved from the British public. As George Grove (1820–1900) – the Chair of the Executive Committee for Music –stated in his speech, ‘at last the time of music has come. Hitherto commerce and practical arts and science have occupied too much of the exclusive attention of the country’. On the other hand, as the Prince of Wales (1841–1910) communicated in his own speech, music could have a greater social and utilitarian role. Based on his interest ‘in the advancement of musical education’ the Prince hoped that this exhibition would ‘have the effect of encouraging the love of that art in this country’, expecting ‘beneficial results’ for the public overall.

The Prince of Wales was not alone in articulating a narrative of public ‘improvement’ through music at the exhibitions. For all of their commercial implications, exhibitions were, largely, educational endeavours, and at many of those held throughout the 1880s, musical activities were organised with distinctly educational aims. For writers in the musical press, exhibitions appeared the perfect forum to expose large crowds to ‘good’ music both for the sake of the art itself and to ‘improve’ the public through its edifying influence. But ‘good’ music was not just any music; it was specifically ‘high art’ music. As the Musical Times put it, to fulfil its educational purposes, the music heard at the exhibitions must be selected without ‘the slightest concession to that vulgarity of taste which is supposed to reign supreme among the masses’.