A01=Emily H Green
aesthetic landscape
Age Group_Uncategorized
Age Group_Uncategorized
artistic allegiances
Author_Emily H Green
automatic-update
branding
Category1=Non-Fiction
Category=AVA
Category=AVH
Category=AVQ
composers
consumers of music
COP=United States
Dedicating Music
dedications
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
financial landscape
friendships
independent artistry
Language_English
PA=Available
patronage
Price_€50 to €100
printed packaging
PS=Active
publishers
self-promotion
softlaunch
Product details
- ISBN 9781580469494
- Weight: 530g
- Dimensions: 152 x 229mm
- Publication Date: 20 May 2019
- Publisher: Boydell & Brewer Ltd
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
A synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music.
Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances..
Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdödy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music.
EMILY H. GREEN is Assistant Professor of Music at George Mason University.
The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
