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Consuming Music
Green, Emily H.; Mayes, Catherine
€ 168.64
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Description for Consuming Music
Hardback. This collection of nine essays investigates the consumption of music during the long eighteenth century, providing insights into the activities of composers, performers, patrons, publishers, theorists, impresarios, and critics. Num Pages: 264 pages, 35 black & white illustrations, 11 black & white line drawings. BIC Classification: 3JF; 3JH; AV; HBT. Category: (P) Professional & Vocational. Dimension: 241 x 156 x 20. Weight in Grams: 530.
This collection of nine essays investigates the consumption of music during the long eighteenth century, providing insights into the activities of composers, performers, patrons, publishers, theorists, impresarios, and critics. The successful sale and distribution of music has always depended on a physical and social infrastructure. Though the existence of that infrastructure may be clear, its organization and participants are among the least preserved and thus least understood elements of historical musical culture. Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom? Focusing on the long eighteenth century, this collection of nine essays investigates such questions from a variety of perspectives, each informed by parallels betweenthe consumption of music and that of dance, visual art, literature, and philosophy in France, the Austro-German lands, and the United States. Chapters relate the activities of composers, performers, patrons, publishers, theorists,impresarios, and critics, exploring consumers' tastes, publishers' promotional strategies, celebrity culture, and the wider communities that were fundamental to these and many more aspects of musical culture. CONTRIBUTORS: Glenda Goodman; Roger Mathew Grant; Emily H. Green; Marie Sumner Lott; Catherine Mayes; Peter Mondelli, Rupert Ridgewell, Patrick Wood Uribe, Steven Zohn Emily H. Green is assistant professor of music at George Mason University. Catherine Mayes is assistant professor of musicology at the University of Utah.
Product Details
Format
Hardback
Publication date
2017
Publisher
Boydell & Brewer Ltd United States
Number of pages
264
Condition
New
Number of Pages
264
Place of Publication
Rochester, United States
ISBN
9781580465779
SKU
V9781580465779
Shipping Time
Usually ships in 7 to 11 working days
Ref
99-1
Reviews for Consuming Music
Fascinating . . . The focus here is on the musical consumer, and the lengths to which publishers, printers and critics
as well as composers and performers
were prepared to go to entice, entertain and indeed educate their audiences. Much absorbing information and food for thought . . . as well as some intriguing parallels between topics perhaps not usually connected. The volume is . . . superbly well furnished with reproductions of both images and written and printed text.
NINETEENTH-CENTURY MUSIC REVIEW
Includes useful references to general reading for anyone new to the subject area, and the book answers many of the questions...Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom?
FONTES ARTIS MUSICAE
Makes an appeal for focusing on the widening market for arts and leisure between 1730 and 1830. Increased access to music practices for a growing pool of customers dictated new directions in the creation, packaging and distribution of musical goods, well before the age of mass consumption. An exploration of these makeovers can yield fresh perspectives on those consumers' experiences traditionally associated with the later nineteenth century and beyond. [Green and Mayes's book] invites its reader to look beyond the content of printed artefacts and appreciate their paratexts. The book's thought-provoking stance is to look for the consumer in sources traditionally held to pertain to the producer.
EIGHTEENTH-CENTURY MUSIC
[C]hallenges readers to take "commercial" music seriously and to rethink the ways we assign value to musical repertoire. The collection has helped to advance a new phase in musicological scholarship in which popularity and commercial success may be grounds for greater scholarly attention rather than less. This laudable enterprise is well served by the essays that make up the volume.
Amy Dunagin, Kennesaw State University
H-Net Reviews
as well as composers and performers
were prepared to go to entice, entertain and indeed educate their audiences. Much absorbing information and food for thought . . . as well as some intriguing parallels between topics perhaps not usually connected. The volume is . . . superbly well furnished with reproductions of both images and written and printed text.
NINETEENTH-CENTURY MUSIC REVIEW
Includes useful references to general reading for anyone new to the subject area, and the book answers many of the questions...Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom?
FONTES ARTIS MUSICAE
Makes an appeal for focusing on the widening market for arts and leisure between 1730 and 1830. Increased access to music practices for a growing pool of customers dictated new directions in the creation, packaging and distribution of musical goods, well before the age of mass consumption. An exploration of these makeovers can yield fresh perspectives on those consumers' experiences traditionally associated with the later nineteenth century and beyond. [Green and Mayes's book] invites its reader to look beyond the content of printed artefacts and appreciate their paratexts. The book's thought-provoking stance is to look for the consumer in sources traditionally held to pertain to the producer.
EIGHTEENTH-CENTURY MUSIC
[C]hallenges readers to take "commercial" music seriously and to rethink the ways we assign value to musical repertoire. The collection has helped to advance a new phase in musicological scholarship in which popularity and commercial success may be grounds for greater scholarly attention rather than less. This laudable enterprise is well served by the essays that make up the volume.
Amy Dunagin, Kennesaw State University
H-Net Reviews