In contrast to today's music industry, whose principal products are recorded songs sold to customers round the world, the music trade in Georgian England was based upon London firms that published and sold printed music and manufactured and sold instruments on which this music could be played. The destruction of business records and other primary sources has hampered investigation of this trade, but recent research into legal proceedings, apprenticeship registers, surviving correspondence and other archived documentation has enabled aspects of its workings to be reconstructed. The first part of the book deals with Longman & Broderip, arguably the foremost English music seller in the late eighteenth century, and the firm's two successors - Broderip & Wilkinson and Muzio Clementi's variously styled partnerships - who carried on after Longman & Broderip's assets were divided in 1798. The next part shows how a rival music seller, John Bland, and his successors, used textual and thematic catalogues to advertise their publications. This is followed by a comprehensive review of the development of musical copyright in this period, a report of efforts by a leading inventor, Charles 3rd Earl Stanhope, to transform the ways in which music was printed and recorded, and a study of Georg Jacob Vollweiler's endeavour to introduce music lithography into England. The book should appeal not only to music historians but also to readers interested in English business history, publishing history and legal history between 1714 and 1830.
1st when a set of music sells for 10s 6d the music shops take half a crown for their trouble of selling it. ... or a shilling profit is sufficient for a copy, as the only trouble is to sell it to the person that asks for it in the shop.
The Careers of British Musicians, 1750–1850: A Profession of Artisans. Cambridge: Cambridge University Press, 2006. Rowland, David. 'Clementi as Publisher' in The Music Trade in Georgian England, ed. Michael Kassler, 159–91.
This Handbook takes stock of the field of copyright history as it stands today, as well as examining potential developments in the future.
In: Muzio Clementi. Cosmopolita della Musica, edited by Richard Bösel and Massimiliano Sala. Bologna: Ut Orpheus Edizioni, pp. 61–80. Golding, R. (2018). The Music Profession in Britain, 1780–1920.
London operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.
as obscene , but music that was uplifting and improving was encouraged that is , mostly sacred music and hymn singing . ... Popular Music in England , 1840–1914 : a social history ( Kingston and Montreal : McGill - Queen's University ...
An in-depth study of the nineteenth-century London ballad-singer, a central figure in British cultural, social and political life.
This book charts the firm's history from its foundation in 1772 to Frederick Davison's death in 1889.