Katharine Ellis
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195365856
- eISBN:
- 9780199867738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365856.003.0002
- Subject:
- Music, History, Western
This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to ...
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This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to a burgeoning domestic and performance market; the performed repertory both diversifies and becomes more selective, with keyboard and other instrumental music appearing more frequently (but provoking gender-related protest) on the concert stage; amid expressions of self-doubt about musical richness nationwide and the quality of new composition, there are concerted attempts to create a musical France via amateur and orphéon performance of early choral masterworks. The chapter extends from the demise of La Moskova's “Palestrinian” society and the end of the July Monarchy, beyond the Franco-Prussian War, to the eve of stable Republican government in France. Change is most clearly signalled in new Second-Empire educational ventures in sacred music (the École Niedermeyer, with its focus on plainchant, Palestrina, and Bach; the rise of “Palestrinian” maîtrises at Langres, Rouen, Moulins, and Autun); transition is evident in continued attention to democratization, in repeated attempts to rehabilitate “la musique française” and in the increasingly nationalist rhetorics of historical and critical writings on early music.Less
This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to a burgeoning domestic and performance market; the performed repertory both diversifies and becomes more selective, with keyboard and other instrumental music appearing more frequently (but provoking gender-related protest) on the concert stage; amid expressions of self-doubt about musical richness nationwide and the quality of new composition, there are concerted attempts to create a musical France via amateur and orphéon performance of early choral masterworks. The chapter extends from the demise of La Moskova's “Palestrinian” society and the end of the July Monarchy, beyond the Franco-Prussian War, to the eve of stable Republican government in France. Change is most clearly signalled in new Second-Empire educational ventures in sacred music (the École Niedermeyer, with its focus on plainchant, Palestrina, and Bach; the rise of “Palestrinian” maîtrises at Langres, Rouen, Moulins, and Autun); transition is evident in continued attention to democratization, in repeated attempts to rehabilitate “la musique française” and in the increasingly nationalist rhetorics of historical and critical writings on early music.
Steven Zohn
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780195169775
- eISBN:
- 9780199865536
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195169775.003.0008
- Subject:
- Music, History, Western
Telemann’s self-publishing business has long been something of a blind spot for historians of music commerce. Surveys of music printing and publishing during the early 18th century often gloss over ...
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Telemann’s self-publishing business has long been something of a blind spot for historians of music commerce. Surveys of music printing and publishing during the early 18th century often gloss over or fail to mention Telemann’s activities in Hamburg, even though his was arguably the most active music publishing business in Germany during the late 1720s and 1730s. This chapter presents an account of Telemann’s Selbstverlag, or self-publishing business, outlining its practices in some detail. It explores the means by which he established and maintained a base of subscribers for his publications, how he set up a distribution network rivaling those of the leading music publishers in London and Amsterdam, how his practices as a music engraver bear on the publications’ appearance and chronology, and the reasons he stepped away from his self-publishing business in 1740.Less
Telemann’s self-publishing business has long been something of a blind spot for historians of music commerce. Surveys of music printing and publishing during the early 18th century often gloss over or fail to mention Telemann’s activities in Hamburg, even though his was arguably the most active music publishing business in Germany during the late 1720s and 1730s. This chapter presents an account of Telemann’s Selbstverlag, or self-publishing business, outlining its practices in some detail. It explores the means by which he established and maintained a base of subscribers for his publications, how he set up a distribution network rivaling those of the leading music publishers in London and Amsterdam, how his practices as a music engraver bear on the publications’ appearance and chronology, and the reasons he stepped away from his self-publishing business in 1740.
Halina Goldberg
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195130737
- eISBN:
- 9780199867424
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130737.001.0001
- Subject:
- Music, History, Western
This book examines the rich musical environment of Fryderyk Chopin's youth and places Chopin's early works in this milieu. It provides a historiographic perspective that allows a better understanding ...
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This book examines the rich musical environment of Fryderyk Chopin's youth and places Chopin's early works in this milieu. It provides a historiographic perspective that allows a better understanding of Poland's cultural and musical circumstances. Chopin's Warsaw emerges from the pages of this book as a vibrant European city that was home to an opera house, various smaller theaters, one of the earliest modern conservatories in Europe, several societies which organized concerts, musically active churches, spirited salon life, music publishers and bookstores, instrument builders, and for a short time even a weekly paper devoted to music. The city was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and found its full realization in his work. Significantly, this period of cultural revival in the Polish capital coincided with the duration of Chopin's stay there — from his infancy in 1810 to his final departure from his homeland in 1830. An uncanny convergence of political, economic, social, and cultural circumstances generated the dynamic musical, artistic, and intellectual environment that nurtured the developing genius and provided the specifically Polish experience so central to his musical style.Less
This book examines the rich musical environment of Fryderyk Chopin's youth and places Chopin's early works in this milieu. It provides a historiographic perspective that allows a better understanding of Poland's cultural and musical circumstances. Chopin's Warsaw emerges from the pages of this book as a vibrant European city that was home to an opera house, various smaller theaters, one of the earliest modern conservatories in Europe, several societies which organized concerts, musically active churches, spirited salon life, music publishers and bookstores, instrument builders, and for a short time even a weekly paper devoted to music. The city was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and found its full realization in his work. Significantly, this period of cultural revival in the Polish capital coincided with the duration of Chopin's stay there — from his infancy in 1810 to his final departure from his homeland in 1830. An uncanny convergence of political, economic, social, and cultural circumstances generated the dynamic musical, artistic, and intellectual environment that nurtured the developing genius and provided the specifically Polish experience so central to his musical style.
Eli M. Noam
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195188523
- eISBN:
- 9780199852574
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195188523.003.0007
- Subject:
- Business and Management, Information Technology
The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in ...
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The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in music (publishers and performing rights licensing organizations), those producing recordings (labels), and those in the marketing of music (distributors). Because there are many labels and only a few distributors, the issue of ownership concentration arises primarily on the distribution level, where four companies dominate. Intellectual property rights are a key element in the music business. Music publishers and performance rights licensing organizations deal with those rights. This chapter examines market concentration trends in music publishing, performance rights, distribution, retailing, and music channels.Less
The music industry in the United States is relatively small in size but large in cultural presence. It consists of those creating music (artists and composers), those creating or enforcing rights in music (publishers and performing rights licensing organizations), those producing recordings (labels), and those in the marketing of music (distributors). Because there are many labels and only a few distributors, the issue of ownership concentration arises primarily on the distribution level, where four companies dominate. Intellectual property rights are a key element in the music business. Music publishers and performance rights licensing organizations deal with those rights. This chapter examines market concentration trends in music publishing, performance rights, distribution, retailing, and music channels.
Judith Blezzard
- Published in print:
- 2002
- Published Online:
- June 2013
- ISBN:
- 9780853235286
- eISBN:
- 9781846312717
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853235286.003.0003
- Subject:
- Society and Culture, Media Studies
This chapter examines choral music and aspects of provincial music publishing in the North of England (mostly east of the Pennines) in the late nineteenth century. It shows how local publishers ...
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This chapter examines choral music and aspects of provincial music publishing in the North of England (mostly east of the Pennines) in the late nineteenth century. It shows how local publishers sustained a thriving culture of mostly amateur music-making during the period. After providing an overview of the music trade, the chapter considers growth areas in music publishing in the region during the period and looks at music publishers and their markets. It also discusses the remarkable growth of the music publishing industry in nineteenth-century London and the influence of Novello on choral music publishing in nineteenth-century England.Less
This chapter examines choral music and aspects of provincial music publishing in the North of England (mostly east of the Pennines) in the late nineteenth century. It shows how local publishers sustained a thriving culture of mostly amateur music-making during the period. After providing an overview of the music trade, the chapter considers growth areas in music publishing in the region during the period and looks at music publishers and their markets. It also discusses the remarkable growth of the music publishing industry in nineteenth-century London and the influence of Novello on choral music publishing in nineteenth-century England.
Chris Goertzen
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814272
- eISBN:
- 9781496814319
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814272.003.0002
- Subject:
- Music, History, American
This chapter discusses George P. Knauff's music business. When versatile musician and entrepreneur Knauff heard a fiddler playing the Virginia Reels melodies for dancing at social events held at the ...
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This chapter discusses George P. Knauff's music business. When versatile musician and entrepreneur Knauff heard a fiddler playing the Virginia Reels melodies for dancing at social events held at the home of his wife's parents, he sensed a similar chance to enhance his income. It is not clear exactly when he launched into composing and arranging music for profit because a few of his publications lack dates and plate numbers; this includes the first printing of the first two volumes of the Virginia Reels. This suggests an alternative scenario: that his activity as a composer and arranger started after his home and business burned and piggybacked on his next focus for earning a living, which was teaching. Whether initially part of his brick-and-mortar business or coupled with his subsequent stint teaching, Knauff's choosing to compose, arrange, and publish music was nothing startling as it was a natural ingredient of any music career at that time.Less
This chapter discusses George P. Knauff's music business. When versatile musician and entrepreneur Knauff heard a fiddler playing the Virginia Reels melodies for dancing at social events held at the home of his wife's parents, he sensed a similar chance to enhance his income. It is not clear exactly when he launched into composing and arranging music for profit because a few of his publications lack dates and plate numbers; this includes the first printing of the first two volumes of the Virginia Reels. This suggests an alternative scenario: that his activity as a composer and arranger started after his home and business burned and piggybacked on his next focus for earning a living, which was teaching. Whether initially part of his brick-and-mortar business or coupled with his subsequent stint teaching, Knauff's choosing to compose, arrange, and publish music was nothing startling as it was a natural ingredient of any music career at that time.
Chris Goertzen
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496814272
- eISBN:
- 9781496814319
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496814272.001.0001
- Subject:
- Music, History, American
George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our ...
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George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discusses the life of the arranger. Then it explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. The book describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout, the book connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. The book incorporates performance descriptions and music terminology into his accessible, engaging prose. The book presents an extended look at the history of southern fiddling and a close examination of current practices.Less
George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discusses the life of the arranger. Then it explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. The book describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout, the book connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. The book incorporates performance descriptions and music terminology into his accessible, engaging prose. The book presents an extended look at the history of southern fiddling and a close examination of current practices.
Bruce Bastin and Kip Lornell
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032769
- eISBN:
- 9781617032776
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032769.003.0001
- Subject:
- Music, History, American
This chapter discusses the childhood of Joe Davis and his early career in the music industry. Davis had his first song, titled “Down Where the Old Road Turns,” published in 1914 and founded his own ...
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This chapter discusses the childhood of Joe Davis and his early career in the music industry. Davis had his first song, titled “Down Where the Old Road Turns,” published in 1914 and founded his own music publishing company, called Cathedral Music Co., the following year. After the war, he launched the Triangle Music Publishing Co., and by 1924 had become increasingly immersed in race recordings. The second half of the 1920s witnessed the growth of Davis’ artist placement and music publishing work.Less
This chapter discusses the childhood of Joe Davis and his early career in the music industry. Davis had his first song, titled “Down Where the Old Road Turns,” published in 1914 and founded his own music publishing company, called Cathedral Music Co., the following year. After the war, he launched the Triangle Music Publishing Co., and by 1924 had become increasingly immersed in race recordings. The second half of the 1920s witnessed the growth of Davis’ artist placement and music publishing work.
Marie Sumner Lott
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039225
- eISBN:
- 9780252097270
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039225.003.0001
- Subject:
- Music, History, Western
This chapter examines the institution of chamber music publishing by looking closely at three internationally significant publishers. In all three cases, publishers sought to balance their production ...
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This chapter examines the institution of chamber music publishing by looking closely at three internationally significant publishers. In all three cases, publishers sought to balance their production of “monumental” and “ephemeral” products to establish and maintain a reliable source of income and new musical material for themselves and, by extension, the musicians who relied upon them. Individually, the three firms represent different models with diverse priorities and business strategies: a small business established by a chamber music lover and copyright activist (Hofmeister); a larger firm that grew with the musical marketplace, changing hands at several points and evolving to address the needs of a growing public (Peters); and a midsize firm that specialized in practical music for private and public use (Schlesinger, later Lienau-Schlesinger). Together, these three companies provides a picture of the music business as it developed throughout the Romantic era.Less
This chapter examines the institution of chamber music publishing by looking closely at three internationally significant publishers. In all three cases, publishers sought to balance their production of “monumental” and “ephemeral” products to establish and maintain a reliable source of income and new musical material for themselves and, by extension, the musicians who relied upon them. Individually, the three firms represent different models with diverse priorities and business strategies: a small business established by a chamber music lover and copyright activist (Hofmeister); a larger firm that grew with the musical marketplace, changing hands at several points and evolving to address the needs of a growing public (Peters); and a midsize firm that specialized in practical music for private and public use (Schlesinger, later Lienau-Schlesinger). Together, these three companies provides a picture of the music business as it developed throughout the Romantic era.
Jane A. Bernstein
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195102314
- eISBN:
- 9780199853113
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102314.003.0006
- Subject:
- Music, History, Western
Real money in music publishing lay not with the printing of books, but with their distribution. First and foremost a book merchant, Girolamo Scotto maintained an efficient marketing system involving ...
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Real money in music publishing lay not with the printing of books, but with their distribution. First and foremost a book merchant, Girolamo Scotto maintained an efficient marketing system involving an established network of publishers, printers, and booksellers that stretched far beyond the confines of Venice. In order to reach an international market, Scotto relied on a group of employees, different from the men and women who worked in his printing shop, to distribute his books. Their duties concerned all aspects of the transport of books, including the receipt of book shipments, the selling of books either in their own bookshops or to other bookdealers, and the collecting of money and bills of exchange from other bookmen for the mercator.Less
Real money in music publishing lay not with the printing of books, but with their distribution. First and foremost a book merchant, Girolamo Scotto maintained an efficient marketing system involving an established network of publishers, printers, and booksellers that stretched far beyond the confines of Venice. In order to reach an international market, Scotto relied on a group of employees, different from the men and women who worked in his printing shop, to distribute his books. Their duties concerned all aspects of the transport of books, including the receipt of book shipments, the selling of books either in their own bookshops or to other bookdealers, and the collecting of money and bills of exchange from other bookmen for the mercator.
Stanley Boorman
- Published in print:
- 2005
- Published Online:
- September 2011
- ISBN:
- 9780195142075
- eISBN:
- 9780199850549
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195142075.001.0001
- Subject:
- Music, History, Western
The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book ...
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The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provides a catalogue of editions and copies.Less
The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provides a catalogue of editions and copies.
Jean E. Snyder
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252039942
- eISBN:
- 9780252098109
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039942.003.0015
- Subject:
- Music, History, American
This chapter examines a selection of art songs that won Harry T. Burleigh renown through their performance by an impressive roster of American and European opera and recital singers, making him one ...
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This chapter examines a selection of art songs that won Harry T. Burleigh renown through their performance by an impressive roster of American and European opera and recital singers, making him one of the most respected American art song composers of the first quarter of the twentieth century. Burleigh's best-known art songs were published by G. Ricordi Music Publishing Company for more than three and a half decades. The first five years of G. Ricordi's publications (1914–1919) represent the majority of the strongest, most memorable, and most enduring of his art song oeuvre. In addition to a dozen or so art songs, more sacred songs appeared in the 1920s, especially from 1924. There were several songs written for historically black colleges such as Talladega College, several novelty songs, and a number of arrangements of folksongs and operatic choruses for choral ensembles. Two songs are especially notable: “Lovely Dark and Lonely One” (1935) and “In Christ There Is No East or West” (1940).Less
This chapter examines a selection of art songs that won Harry T. Burleigh renown through their performance by an impressive roster of American and European opera and recital singers, making him one of the most respected American art song composers of the first quarter of the twentieth century. Burleigh's best-known art songs were published by G. Ricordi Music Publishing Company for more than three and a half decades. The first five years of G. Ricordi's publications (1914–1919) represent the majority of the strongest, most memorable, and most enduring of his art song oeuvre. In addition to a dozen or so art songs, more sacred songs appeared in the 1920s, especially from 1924. There were several songs written for historically black colleges such as Talladega College, several novelty songs, and a number of arrangements of folksongs and operatic choruses for choral ensembles. Two songs are especially notable: “Lovely Dark and Lonely One” (1935) and “In Christ There Is No East or West” (1940).
Simon Wright
- Published in print:
- 2017
- Published Online:
- June 2017
- ISBN:
- 9780199574797
- eISBN:
- 9780191839498
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199574797.003.0016
- Subject:
- History, British and Irish Modern History, Social History
The Music Department, which remained in London until 1983, published sheet music, performance scores, hymnals, books, and educational materials, but was increasingly developing into a ...
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The Music Department, which remained in London until 1983, published sheet music, performance scores, hymnals, books, and educational materials, but was increasingly developing into a rights-management business. The chapter chronicles the department’s move to Oxford and subsequent streamlining—the list of titles in print was cut back and editorial control over music books transferred to New York. Under the directorship of Andrew Potter, the department sought out new composers and developed particular strengths in church, choral, and early music. Successful series included Oxford Choral Classics, Musica da Camera, and Carols for Choirs. The publication of bibles, prayer books, and hymnals is also considered in this chapter. Although historically a significant part of the OUP list, bible publishing had declined in relative importance, with management of the list moving from department to department. Important publications included the New English Bible, Revised Standard Version, and the BBC Songs of Praise.Less
The Music Department, which remained in London until 1983, published sheet music, performance scores, hymnals, books, and educational materials, but was increasingly developing into a rights-management business. The chapter chronicles the department’s move to Oxford and subsequent streamlining—the list of titles in print was cut back and editorial control over music books transferred to New York. Under the directorship of Andrew Potter, the department sought out new composers and developed particular strengths in church, choral, and early music. Successful series included Oxford Choral Classics, Musica da Camera, and Carols for Choirs. The publication of bibles, prayer books, and hymnals is also considered in this chapter. Although historically a significant part of the OUP list, bible publishing had declined in relative importance, with management of the list moving from department to department. Important publications included the New English Bible, Revised Standard Version, and the BBC Songs of Praise.
Maria McHale
- Published in print:
- 2011
- Published Online:
- March 2015
- ISBN:
- 9780198187318
- eISBN:
- 9780191803277
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780198187318.003.0050
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter discusses music publishing in nineteenth-century Dublin and the ways in which publishers reflected and, in some cases, played a key role in the country’s musical life. The arts, music, ...
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This chapter discusses music publishing in nineteenth-century Dublin and the ways in which publishers reflected and, in some cases, played a key role in the country’s musical life. The arts, music, and theatre scene in Dublin flourished in the early nineteenth century. There were over sixty music businesses operating in a close network of streets within the heart of the city by the middle of the century; the upper echelons of Dublin society ensured that the amateur music market was kept afloat; and sellers and makers of home instruments such as harpsichords, pianos, and harps satisfied a growing market. Dublin’s appetite for music grew steadily as witnessed by the number of businesses that straddled the eighteenth and nineteenth centuries. However, business was in sharp decline towards the end of the century. By then the competitively priced editions of the great London music publishers, such as Augener, Boosey & Co, and Hawkes & Son has come to dominate the Irish market.Less
This chapter discusses music publishing in nineteenth-century Dublin and the ways in which publishers reflected and, in some cases, played a key role in the country’s musical life. The arts, music, and theatre scene in Dublin flourished in the early nineteenth century. There were over sixty music businesses operating in a close network of streets within the heart of the city by the middle of the century; the upper echelons of Dublin society ensured that the amateur music market was kept afloat; and sellers and makers of home instruments such as harpsichords, pianos, and harps satisfied a growing market. Dublin’s appetite for music grew steadily as witnessed by the number of businesses that straddled the eighteenth and nineteenth centuries. However, business was in sharp decline towards the end of the century. By then the competitively priced editions of the great London music publishers, such as Augener, Boosey & Co, and Hawkes & Son has come to dominate the Irish market.
Frederick Nolan
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780195102895
- eISBN:
- 9780199853212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102895.003.0021
- Subject:
- Music, Popular
In November 1930, in association with Max Dreyfus, Richard Rodgers and Lorenz Hart announced the formation of a new music publishing house, its name a melding of theirs: Rodart Music Publishing ...
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In November 1930, in association with Max Dreyfus, Richard Rodgers and Lorenz Hart announced the formation of a new music publishing house, its name a melding of theirs: Rodart Music Publishing Company. Its purpose was to exploit the existing catalogue and publish their future songs: they needed the money. The establishing of Rodart turned out to be their farewell to Broadway for four years. Just a few days later they received a call from Mel Shauer, Hart's old camping and songwriting companion, who had gone out to California the preceding year and was now a producer at Paramount. Shauer had met Maurice Chevalier in Paris, and they had become very friendly. When Chevalier came to work in Hollywood, Shauer put up the suggestion that Rodgers and Hart be hired to write songs for him. The studio was not enthusiastic. His persistence paid off, however; Jesse Lasky decided to give them a chance.Less
In November 1930, in association with Max Dreyfus, Richard Rodgers and Lorenz Hart announced the formation of a new music publishing house, its name a melding of theirs: Rodart Music Publishing Company. Its purpose was to exploit the existing catalogue and publish their future songs: they needed the money. The establishing of Rodart turned out to be their farewell to Broadway for four years. Just a few days later they received a call from Mel Shauer, Hart's old camping and songwriting companion, who had gone out to California the preceding year and was now a producer at Paramount. Shauer had met Maurice Chevalier in Paris, and they had become very friendly. When Chevalier came to work in Hollywood, Shauer put up the suggestion that Rodgers and Hart be hired to write songs for him. The studio was not enthusiastic. His persistence paid off, however; Jesse Lasky decided to give them a chance.
MICHAEL SPENCE
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780198765011
- eISBN:
- 9780191695278
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198765011.003.0003
- Subject:
- Law, Intellectual Property, IT, and Media Law
This chapter is built around the intangible assets centered on the activity of the creative industries — book and music publishing, the performance and film industries. It focuses on copyright, to ...
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This chapter is built around the intangible assets centered on the activity of the creative industries — book and music publishing, the performance and film industries. It focuses on copyright, to which it is almost wholly devoted because copyright is the regime that has been the most important for the longest time, and arguably remains the most important, to the creative industries. This chapter discusses the important factors considered in copyright protection: the subject matter, first ownership, and the scope of protection. Moreover, it explains public lending rights, publication rights, rights in performances, moral rights, artist's resale rights, and technological protection measures.Less
This chapter is built around the intangible assets centered on the activity of the creative industries — book and music publishing, the performance and film industries. It focuses on copyright, to which it is almost wholly devoted because copyright is the regime that has been the most important for the longest time, and arguably remains the most important, to the creative industries. This chapter discusses the important factors considered in copyright protection: the subject matter, first ownership, and the scope of protection. Moreover, it explains public lending rights, publication rights, rights in performances, moral rights, artist's resale rights, and technological protection measures.
Gary A. Rosen
- Published in print:
- 2012
- Published Online:
- April 2015
- ISBN:
- 9780199733484
- eISBN:
- 9780190259891
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199733484.003.0001
- Subject:
- Law, Intellectual Property, IT, and Media Law
This chapter uses the example of Tin Pan Alley to illustrate how the vicissitudes of the music business closely tracked the development of copyright law, sometimes following changes in the law, and ...
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This chapter uses the example of Tin Pan Alley to illustrate how the vicissitudes of the music business closely tracked the development of copyright law, sometimes following changes in the law, and sometimes driving them. Tin Pan Alley was geographically located on the half-block of West 28th Street lying between Broadway and Sixth Avenue in New York City. In the late nineteenth and early twentieth century, it was home to music publishers who controlled the production and distribution for popular music in its most tangible, merchantable form—printed sheet music—as well as the collection of all revenues and the calculation and disbursement of all royalties, which meant that all but the very few name-brand songwriters who became publishers themselves were at their mercy. However, by the mid-1920s, its stranglehold over the market for popular music was slipping, and the power struggle between songwriters and publishers shifted towards the direction of the songwriters.Less
This chapter uses the example of Tin Pan Alley to illustrate how the vicissitudes of the music business closely tracked the development of copyright law, sometimes following changes in the law, and sometimes driving them. Tin Pan Alley was geographically located on the half-block of West 28th Street lying between Broadway and Sixth Avenue in New York City. In the late nineteenth and early twentieth century, it was home to music publishers who controlled the production and distribution for popular music in its most tangible, merchantable form—printed sheet music—as well as the collection of all revenues and the calculation and disbursement of all royalties, which meant that all but the very few name-brand songwriters who became publishers themselves were at their mercy. However, by the mid-1920s, its stranglehold over the market for popular music was slipping, and the power struggle between songwriters and publishers shifted towards the direction of the songwriters.
Bruce Bastin and Kip Lornell
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032769
- eISBN:
- 9781617032776
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032769.003.0008
- Subject:
- Music, History, American
This chapter focuses on Joe Davis’s retirement from being a full-time record executive in 1948. During this time, Davis sold his West 51st Street building and returned to Brill Building in Broadway. ...
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This chapter focuses on Joe Davis’s retirement from being a full-time record executive in 1948. During this time, Davis sold his West 51st Street building and returned to Brill Building in Broadway. Though semi-retired, he occasionally ventured back into producing discs, and also continued acquiring and assigning songs from his earlier companies, which highlighted the complex nature of music publishing.Less
This chapter focuses on Joe Davis’s retirement from being a full-time record executive in 1948. During this time, Davis sold his West 51st Street building and returned to Brill Building in Broadway. Though semi-retired, he occasionally ventured back into producing discs, and also continued acquiring and assigning songs from his earlier companies, which highlighted the complex nature of music publishing.
Laurence Maslon
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780199832538
- eISBN:
- 9780190620424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199832538.003.0002
- Subject:
- Music, Popular, History, American
At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music ...
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At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.Less
At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.
Mark Berresford
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604730999
- eISBN:
- 9781604733716
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604730999.003.0011
- Subject:
- Music, History, American
This chapter describes Sweatman’s career in the 1930s. The demise of two-a-day vaudeville due to the rise of radio and talking films, along with the onset of the Great Depression, spelled ...
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This chapter describes Sweatman’s career in the 1930s. The demise of two-a-day vaudeville due to the rise of radio and talking films, along with the onset of the Great Depression, spelled unemployment for hundreds of long-established performers. It was a tough time for Sweatman, but, unlike many of his contemporaries, at least he had some income from his music-publishing and band-booking businesses. While these desk-based activities consumed most of his time in the 1930s, he still led pickup bands whenever the opportunity for such work arose.Less
This chapter describes Sweatman’s career in the 1930s. The demise of two-a-day vaudeville due to the rise of radio and talking films, along with the onset of the Great Depression, spelled unemployment for hundreds of long-established performers. It was a tough time for Sweatman, but, unlike many of his contemporaries, at least he had some income from his music-publishing and band-booking businesses. While these desk-based activities consumed most of his time in the 1930s, he still led pickup bands whenever the opportunity for such work arose.
