The Business of Music

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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.

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The Business of Music

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

Notes on Contributors
pp vii-x

Introduction
pp 1-9

1 - A Venetian Operatic Contract of 1714
pp 10-61

2 - What Choirs Also Sang: Aspects of Provincial Music Publishing in Late-nineteenth-century England
pp 62-95

3 - The Modernisation of London Concert Life around 1900
pp 96-120

4 - Debussy, Durand et Cie: A French Composer and His Publisher (1884–1917)
pp 121-151

5 - Nadia Boulanger (1887–1979): The Teacher in the Marketplace
pp 152-170

6 - Copyright as a Component of the Music Industry
pp 171-194

7 - Illegality and the Music Industry
pp 195-216

8 - The Tarnished Image? Folk ‘Industry’ and the Media
pp 217-243

9 - Collective Responsibilities: The Arts Council, Community Arts and the Music Industry in Ireland
pp 244-262

10 - Paying One's Dues: The Music Business, the City and Urban Regeneration
pp 263-291

11 - Learning to Crawl: The Rapid Rise of Music Industry Education
pp 292-310

Index of Personal Names
pp 311-320

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The Business of Music

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