Music and patronage:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2012
|
| Schriftenreihe: | The library of essays on music, politics and society
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXVII, 597 S. Ill. |
| ISBN: | 9781409431060 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Titel: Music and patronage
Autor: Merkley, Paul
Jahr: 2012
Contents
Acknowledgements vii
Series Preface xi
Introduction xiii
PARTI THE STATE
1 Sam Mirelman (2009), New Developments in the Social History of Music
and Musicians in Ancient Iraq, Syria, and Turkey , Yearbookfor Traditional
Music, 41, pp. 12-22. 3
2 Madhu Trivedi (1999), Tradition and Transition: The Performing Arts in
Medieval North India , Medieval History Journal, 2, pp. 73-110. 15
3 lain Fenlon (2010), Renaissance Novellara: Musical Life in the Gonzaga
Hinterland , Music and Letters, 91, pp. 484-97. 53
4 John A. Rice (2003), Joseph Haydn and Beethoven between Court and
Nobility , in Empress Marie Therese and Music at the Viennese Court,
1792-1807, Cambridge: Cambridge University Press, pp. 230-58. 67
5 Jennifer Doctor (1999), The Music Programmes Take Shape, 1926-1927 ,
in The BBC and Ultra-Modern Music, 1922-1936: Shaping a Nation s
Tastes, Cambridge: Cambridge University Press, pp. 80-95. 99
6 Mark Carroll (2011), A Flutter in the Orchestras : The Ballets Russes
and the Australian Orchestral Situation in the 1930s , in Mark Carroll (ed.),
The Ballets Russes in Australia and Beyond, Adelaide: Wakefield Press,
pp. 142-59. 119
7 Donna M. Binkiewicz (2004), Let Us Begin: Arts Policy during the
Kennedy Administration , in Federalizing the Muse: United States Arts
Policy and the National Endowment for the Arts, 1965-1980, Chapel Hill:
University of North Carolina Press, pp. 34-68. 139
8 Georgina Born (1995), Background: IRCAM s Conditions of Existence ,
in Rationalizing Culture: IRCAM, Boulez, and the lnstitutionalization ofthe
Musical Avant-Garde, Berkeley: University of California Press, pp. 66-101. 183
PART II COURT AND ARISTOCRACY
9 Joseph Sui Ching Lam (1998), State Sacrificial Music in the Ming Court ,
in State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and
Expressiveness, Albany: State University of New York Press, pp. 99-120. 227
10 Paul A. Merkley (2012), Ludovico Sforza as an Emerging Prince :
Networks of Musical Patronage in Milan , pp. 255-70. 255
Music and Patronage
1 1 Steven G. Nelson (2008), Court and Religious Music (1): History of
Gagaku and ShömycT, in Alison McQueen Tokita and David W. Hughes
(eds), The Ashgate Research Companion to Japanese Music, Aldershot:
Ashgate, pp. 35-48. 271
12 David Hennebelle (2009), Les Patronages Aristocratiques face au Modele
Royal , in De Lully ä Mozart: Aristocratie, Musique et Musiciens ä Paris
(XVUe-XVUIe siecles), Seyssel, France: Champ Vallon, pp. 43-62. 287
13 Amy Ku uleialoha-Stillman (1996), Beyond Bibliography: Interpreting
Hawaiian-Language Protestant Hymn Imprints , Ethnomusicology, 40,
pp. 469-88. 307
14 Myriam Chimenes (2004), Winnaretta Singer, Princesse Edmond
de Polignac , in Mecenes et Musiciens: Du Salon au Concert ä Paris
sous la Ille Republique, Paris: Fayard, pp. 84-114. 327
15 Carol J. Oja (1997), Women Patrons and Activists for Modernist Music:
New York in the 1920s , Modernism/modernity, 4, pp. 129-55. 361
PART III ECONOMIC FORCES
16 John Kmetz (2005), Blowing Your Hörn in the New Economy, ca. 1550 ,
in Keith Polk (ed.), Tielman Susato and the Music ofHis Time: Print Culture,
Compositional Technique and Instrumental Music in the Renaissance,
Hillsdale, NY: Pendragon Press, pp. 133^11. 391
17 Beth L. Glixon and Jonathan E. Glixon (2006), The Composition and the
Production ofthe Opera Score , in Inventing the Business of Opera: The
Impresario and His World in Seventeenth-Century Venice, Oxford:
Oxford University Press, pp. 140-72. 401
18 Ian Woodfield (2003), The Country Visit , in Salomon and the Burneys:
Private Patronage and a Public Career, Aldershot: Ashgate, pp. 22-32. 437
19 Daniel Goldmark (2007), Creating Desire on Tin Pan Alley , Musical
Quarterly, 90, pp. 197-229. 449
20 Kyle S. Barnett (2010), The Selznick Studio, Spellbound , and the
Marketing of Film Music , Music, Sound, and the Moving Image, 4,
pp. 77-98. 483
21 Kelly M. Foreman (2008), Entertainer vs. Artist: Patronage and the
Negotiation of Identity , in The Gei of Geisha: Music, Identity and Meaning,
Aldershot: Ashgate, pp. 87-106. 505
22 Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise
Crewe (2005), On the Reproduction ofthe Musical Economy after the
Internet , Media, Culture and Society, 27, pp. 177-209. 527
23 Robert Strachan (2007), Micro-Independent Record Labels in the UK:
Discourse, DIY Cultural Production and the Music Industry , European
Journal of Cultural Studies, 10, pp. 245-65. 561
Name Index 583
|
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