The business of music /
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 o...
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| Other Authors: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Liverpool :
Liverpool University Press,
2002.
|
| Series: | Liverpool Music Symposium (Series) ;
2. |
| Subjects: | |
| Online Access: |
Full text (Emmanuel users only) |
MARC
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| 245 | 0 | 4 | |a The business of music / |c edited by Michael Talbot. |
| 260 | |a Liverpool : |b Liverpool University Press, |c 2002. | ||
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| 490 | 1 | |a Liverpool Music Symposium ; |v 2 | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a A Venetian operatic contract of 1714 / Michael Talbot -- What choirs also sang : aspects of provincial music publishing in late-nineteenth-century England / Judith Blezzard -- The modernisation of London concert life around 1900 / Simon McVeigh, Cyril Ehrlich -- Debussy, Durand et Cie : a French composer and his publisher (1884-1917) / Robert Orledge -- Nadia Boulanger (1887-1979) : the teacher in the marketplace / Caroline Potter -- Copyright as a component of the music industry / Dave Laing -- Illegality and the music industry / Simon Frith -- The tarnished image? : folk "industry" and the media / Mike Brocken -- Collective responsibilities : the arts council, community arts and the music industry in Ireland / Rob Strachan, Marion Leonard -- Paying one's dues : the music business, the city and urban regeneration / Sara Cohen -- Learning to crawl : the rapid rise of music industry education / Mike Jones. | |
| 520 | |a 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 se. | ||
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