Full Description
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.
Contents
Notes on ContributorsIntroduction - MICHAEL TALBOT1. A Venetian Operatic Contract of 1714 - MICHAEL TALBOT2. What Choirs Also Sang: Aspects of Provincial Music Publishing in Late-nineteenth-century England - JUDITH BLEZZARD3. The Modernisation of London Concert Life around 1900 - SIMON MCVEIGH AND CYRIL EHRLICH4. Debussy, Durand et Cie: A French Composer and His Publisher (1884-1917) - ROBERT ORLEDGE5. Nadia Boulanger (1887-1979): The Teacher in the Marketplace - CAROLINE POTTER6. Copyright as a Component of the Music Industry - DAVE LAING7. Illegality and the Music Industry - SIMON FRITH8. The Tarnished Image? Folk `Industry' and the Media - MIKE BROCKEN9. Collective Responsibilities: The Arts Council, Community Arts and the Music Industry in Ireland - ROB STRACHAN AND MARION LEONARD10. Paying One's Dues: The Music Business, the City and Urban Regeneration - SARA COHEN11. Learning to Crawl: The Rapid Rise of Music Industry Education - MIKE JONESIndex of Personal Names
