The business of music / [electronic resource]
Talbot, Michael.
Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? In the eleven essays contained in this book the authors wrestle with these questions from the perspective of their chosen area of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers and pedagogues to managers, publishers and lawyers; from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.
Title Page; Contents; Notes on Contributors; Introduction; 1: A Venetian Operatic Contract of 1714; 2: What Choirs Also Sang: Aspects of Provincial Music Publishing in Late-nineteenth-century England; 3: The Modernisation of London Concert Life around 1900; 4: Debussy, Durand et Cie: A French Composer and His Publishers (1884-1917); 5: Nadia Boulanger (1887-1979): The Teacher in the Marketplace; 6: Copyright as a Component of the Music Industry; 7: Illegality and the Music Industry; 8: The Tarnished Image? Folk 'Industry' and Media
9: Collective Responsibilities: The Arts Council, Community Arts and the Music Industry in Ireland10: Paying One's Dues: The Music Business, the City and Urban Regeneration; 11: Learning to Crawl:The Rapid Rise of Music Industry Education; Index of Personal Names
Includes bibliographical references and index.
Title from publisher's bibliographic system (viewed on 28 Aug 2017).
Is business, for music, a regrettable necessity or a spur to creativity? Are there limits to the influence that economic factors can or should exert on the musical imagination and its product? In the eleven essays contained in this book the authors wrestle with these questions from the perspective of their chosen area of research. The range is wide: from 1700 to the present day; from the opera house to the community centre; from composers, performers and pedagogues to managers, publishers and lawyers; from piano miniatures to folk music and pop CDs. If there is a consensus, it is that music serves its own interests best when it harnesses business rather than denying it.
Music trade
Music trade