The Business of Music

BookThe Business of Music

The Business of Music

Liverpool Music Symposium, 2

2002

May 1st, 2002

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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.

Table of Contents

Table of Contents
Section TitlePagePrice
Title Page3
Contents5
Notes on Contributors7
Introduction11
1: A Venetian Operatic Contract of 171420
2: What Choirs Also Sang: Aspects of Provincial Music Publishing in Late-nineteenth-century England72
3: The Modernisation of London Concert Life around 1900106
4: Debussy, Durand et Cie: A French Composer and His Publishers (1884-1917)131
5: Nadia Boulanger (1887–1979): The Teacher in the Marketplace162
6: Copyright as a Component of the Music Industry181
7: Illegality and the Music Industry205
8: The Tarnished Image? Folk ‘Industry’ and Media227
9: Collective Responsibilities: The Arts Council, Community Arts and the Music Industry in Ireland254
10: Paying One’s Dues: The Music Business, the City and Urban Regeneration273
11: Learning to Crawl:The Rapid Rise of Music Industry Education302
Index of Personal Names321