Financing Music in Europe - Brepols
Par un écrivain mystérieux
Description
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?
Brepols - Home
UI Press University of Illinois
The idea that the body plays an essential role in music has stimulated a wide range of new approaches in recent musicology. This book tries to apply
Stravinsky and the Musical Body
The Seven Sorrows Confraternity of Brussels. Drama, Ceremony, and Art Patronage (16th-17th Centuries) (Studies in European Urban History [1100-1800], 37)
Brepols - Music and the Figurative Arts in the Twentieth Century
Brepolis bibliographies – manual
Financing Music in Europe
Brepols - Between Centres and Peripheries
Brepols - LIM
Financing Music in Europe : Jardin, Etienne: : Books
During the Renaissance and throughout the Baroque and Classical periods, musical production was linked to patronage. There are essentially two types
Music Patronage in Italy
Brepols - Home
Music and Power in the Baroque Era - Brepols
depuis
par adulte (le prix varie selon la taille du groupe)