Patronage has long figured in our historical understanding of music and, on an academic level, has been the subject of intense research over the past thirty years. The articles gathered together in this volume look at patronage in its broadest sense: individual and traditional court patronage as well as patronage within states and organizations. The subject is further explored by articles which discuss the means of distribution of music, such as printing and the internet, and the inclusion of music in collaborative arts such as film. The articles consider both sacred and secular music and employ a range of different approaches from archival and social and cultural-historical, to ethnomusicological and quantitative-economical. Thematic connections figure strongly and attention is given to the prominent role of women and questions of feminine voice and feminine way. The scope of the articles ranges in time from the courts of ancient Mesopotamia, India and China to the new millennium, and the geographical spread includes most regions of the world.
Contents: Introduction; Part I The State: New developments in the social history of music and musicians in ancient Iraq, Syria and Turkey, Sam Mirelman; Tradition and transition: the performing arts in medieval North India, Madhu Trivedi; Renaissance novellara: musical life in the Gonzaga hinterland, Iain Fenlon; Joseph Haydn and Beethoven between court and nobility, John A. Rice; The music programmes take shape, 1926-1927, Jennifer Doctor; ’A flutter in the orchestras’: the Ballets Russes and the Australian orchestral situation in the 1930s, Mark Carroll; ’Let us begin’: arts policy during the Kennedy administration, Donna M. Binkiewicz; Background: IRCAM’s conditions of existence, Georgina Born. Part II Court and Aristocracy: State sacrificial music in the Ming court, Joseph Sui Ching Lam; Ludovico Sforza as an ’emerging prince’: networks of musical patronage in Milan, Paul A. Merkley; Court and religious music (1): history of gagaku and shomyo, Steven G. Nelson; Les patronages aristocratiques face au modèle royal, David Hennebelle; Beyond bibliography: interpreting Hawaiian-language Protestant hymn imprints, Amy Ku’uleialoha-Stillman; Winaretta Singer, Princess Edmond de Polignac, Myriam Chimènes; Woman patrons and activists for modernist music: New York in the 1920s, Carol J. Oja. Part III Economic Forces: Blowing your horn in the new economy, ca.1550, John Kmetz; The composition and the production of the opera score, Beth L. Glixon and Jonathan E. Glixon; The country visit, Ian Woodfield; Creating desire on Tin Pan Alley, Daniel Goldmark; The Selznick studio, 'Spellbound', and the marketing of film music, Kyle S. Barnett; Entertainer vs artist: patronage and the negotiation of identity, Kelly M. Foreman; On the reproduction of the musical economy after the internet, Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise Crewe; Micro-independent record labels in the UK: discourse, DIY cultural production and the music industry, Rober