Financing music in Europe:
The way in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in Europe...
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| Format: | Buch |
| Sprache: | English French Italian |
| Veröffentlicht: |
Turnhout
Brepols
2022
|
| Schriftenreihe: | Specvlvm mvsicae
volume 47 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The way in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in European life with the development of new technologies and expanding market economies. Composers and musicians, no longer bound by service to a court or a patron, were fully integrated into the musical market, and new categories emerged, such as theatre impresarios and the artistic agent. During the second half of the 19th century, the concept of a career as a concert musician began to take shape concurrently with the second Industrial Revolution. This book investigates the various aspects of financing the music world — in court, on lyrical stages, for concerts, or even music schools — and ask the question: did the provenance of funding and the funder’s identity have an impact on music itself? |
| Beschreibung: | xii, 452 Seiten Illustrationen, Diagramme, Notenbeispiele |
| ISBN: | 9782503602899 |
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| 520 | 3 | |a The way in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in European life with the development of new technologies and expanding market economies. Composers and musicians, no longer bound by service to a court or a patron, were fully integrated into the musical market, and new categories emerged, such as theatre impresarios and the artistic agent. During the second half of the 19th century, the concept of a career as a concert musician began to take shape concurrently with the second Industrial Revolution. This book investigates the various aspects of financing the music world — in court, on lyrical stages, for concerts, or even music schools — and ask the question: did the provenance of funding and the funder’s identity have an impact on music itself? | |
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Datensatz im Suchindex
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| adam_text | Contents Étienne Jardin Preface ix Economic Models Berthold Over Music in the Court Budget: The Example of the Bavarian Court in Munich (1570-1802) 3 Morton Wan Handel’s Financial Sublime: Sounding the South Sea Bubble of 1720 19 Sean Reilly The New-German School and the ‘Retreat to the Court’: Reconciling Conflicts between Claims of Autonomy and Reliance on Noble Patronage in the Early Years of the Allgemeiner Deutscher Musikverein (1859-1868) 51 Rémy Campos Donner un concert: les formes de la libéralité dans les salons parisiens (1870-1914) 79 Katharine Ellis Broke: Tales from the French Opera Industry 109 Anna Wright The Funding of Conservatoires in Late Nineteenth-Century England 129
Eighteenth-Century Opera Mirijam Beier How to Finance a Singer s Life and Career in the Italian Opera Business of the Eighteenth Century 153 Eric Boaro Gambling as a Source of Opera Funding: The Case ofthe Regio Ducal Teatro ofMilan (1717-1776) 169 Davide Mingozzi «Non sarà lecito a chiunque di aprire teatri in città»: l’impresa dei teatri a Genova (1772-1773) 191 Maxime Μ arg olle L’économie de l’opéra-comique à la fin du XVIIIe siècle (1783-1801) 217 Across Borders Jeroen van Gessel Money as the Missing Link: Interpreting Cultural Politics in the Strasbourg Opera (1870-1918) through the Lens of Finance 235 Megan Estela Maurice Grau et ì’âge d’or du Metropolitan Opera 253 Jules Cavalié The Saison Italienne at the Théâtre du Châtelet in Paris in May and June 1910: The Development of a Branded Product, between Public Institutional Model and Private International Entrepreneurship 271 Gabriele Slizyte Propagande diplomatique, management et financement des artistes: le rôle de l’Association française d’action artistique dans la carrière américaine des musiciens français au début du XXe siècle 281
Concerts María Encina Cortizo - Ramón Sobrino Musicians as Entrepreneurs: Private Music Societies in Crisis Times in Spain (1868-1874) 299 Simon McVeigh Piano Manufacturers and Concert Promotion in Edwardian London: New Light on the Broadwood Concerts (1902-1912) 319 Kristin Van den Buys Financing Modernist Music: The Rise, Climaxand Decline (1920-1936) of Modernist Music in Commercial Concert Societies in Brussels and Its Revival (1936-1940) at the Fully Subsidized National Radio Belgian Broadcasting Institute 343 Chris Marshall Calling the Tune: A Commissioning Fund for the BBC Proms, 1960-1985 363 Editions César Leal Music Publications: Artifacts and Instruments of the Music Industry 383 Haiganuş Preda-Schimek Creative and Economic Networks: A Case Study in Romanian Folk Music Published in Vienna around 1850 403 Abstracts and Biographies 425 Index of Names 439
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| adam_txt |
Contents Étienne Jardin Preface ix Economic Models Berthold Over Music in the Court Budget: The Example of the Bavarian Court in Munich (1570-1802) 3 Morton Wan Handel’s Financial Sublime: Sounding the South Sea Bubble of 1720 19 Sean Reilly The New-German School and the ‘Retreat to the Court’: Reconciling Conflicts between Claims of Autonomy and Reliance on Noble Patronage in the Early Years of the Allgemeiner Deutscher Musikverein (1859-1868) 51 Rémy Campos Donner un concert: les formes de la libéralité dans les salons parisiens (1870-1914) 79 Katharine Ellis Broke: Tales from the French Opera Industry 109 Anna Wright The Funding of Conservatoires in Late Nineteenth-Century England 129
Eighteenth-Century Opera Mirijam Beier How to Finance a Singer s Life and Career in the Italian Opera Business of the Eighteenth Century 153 Eric Boaro Gambling as a Source of Opera Funding: The Case ofthe Regio Ducal Teatro ofMilan (1717-1776) 169 Davide Mingozzi «Non sarà lecito a chiunque di aprire teatri in città»: l’impresa dei teatri a Genova (1772-1773) 191 Maxime Μ arg olle L’économie de l’opéra-comique à la fin du XVIIIe siècle (1783-1801) 217 Across Borders Jeroen van Gessel Money as the Missing Link: Interpreting Cultural Politics in the Strasbourg Opera (1870-1918) through the Lens of Finance 235 Megan Estela Maurice Grau et ì’âge d’or du Metropolitan Opera 253 Jules Cavalié The Saison Italienne at the Théâtre du Châtelet in Paris in May and June 1910: The Development of a Branded Product, between Public Institutional Model and Private International Entrepreneurship 271 Gabriele Slizyte Propagande diplomatique, management et financement des artistes: le rôle de l’Association française d’action artistique dans la carrière américaine des musiciens français au début du XXe siècle 281
Concerts María Encina Cortizo - Ramón Sobrino Musicians as Entrepreneurs: Private Music Societies in Crisis Times in Spain (1868-1874) 299 Simon McVeigh Piano Manufacturers and Concert Promotion in Edwardian London: New Light on the Broadwood Concerts (1902-1912) 319 Kristin Van den Buys Financing Modernist Music: The Rise, Climaxand Decline (1920-1936) of Modernist Music in Commercial Concert Societies in Brussels and Its Revival (1936-1940) at the Fully Subsidized National Radio Belgian Broadcasting Institute 343 Chris Marshall Calling the Tune: A Commissioning Fund for the BBC Proms, 1960-1985 363 Editions César Leal Music Publications: Artifacts and Instruments of the Music Industry 383 Haiganuş Preda-Schimek Creative and Economic Networks: A Case Study in Romanian Folk Music Published in Vienna around 1850 403 Abstracts and Biographies 425 Index of Names 439 |
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| spelling | Financing music in Europe edited by Étienne Jardin Turnhout Brepols 2022 xii, 452 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Specvlvm mvsicae volume 47 The way in which music was financed from the 18th to the early 20th centuries has usually been depicted as a slow transition from private investment (or patronage) to more public forms of financial support. In particular, the later 18th and earlier 19th centuries marked fundamental changes in European life with the development of new technologies and expanding market economies. Composers and musicians, no longer bound by service to a court or a patron, were fully integrated into the musical market, and new categories emerged, such as theatre impresarios and the artistic agent. During the second half of the 19th century, the concept of a career as a concert musician began to take shape concurrently with the second Industrial Revolution. This book investigates the various aspects of financing the music world — in court, on lyrical stages, for concerts, or even music schools — and ask the question: did the provenance of funding and the funder’s identity have an impact on music itself? 15 English, 1 Italian, 4 French contributions; includes abstracts in English Geschichte 1570-1985 gnd rswk-swf Finanzierung (DE-588)4017182-6 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf (DE-588)1071861417 Konferenzschrift October 2020 gnd-content Europa (DE-588)4015701-5 g Musikleben (DE-588)4075128-4 s Finanzierung (DE-588)4017182-6 s Geschichte 1570-1985 z DE-604 Jardin, Étienne 1980- (DE-588)1050054563 edt Specvlvm mvsicae volume 47 (DE-604)BV011188963 47 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034015313&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Financing music in Europe |
| title_auth | Financing music in Europe |
| title_exact_search | Financing music in Europe |
| title_exact_search_txtP | Financing music in Europe |
| title_full | Financing music in Europe edited by Étienne Jardin |
| title_fullStr | Financing music in Europe edited by Étienne Jardin |
| title_full_unstemmed | Financing music in Europe edited by Étienne Jardin |
| title_short | Financing music in Europe |
| title_sort | financing music in europe |
| topic | Finanzierung (DE-588)4017182-6 gnd Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Finanzierung Musikleben Europa Konferenzschrift October 2020 |
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