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Instrumental Music and The Industrial Revolution

Editors: Roberto Illiano, Luca Lévi Sala

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Contents: Essays by Luca Aversano, Claudio Bacciagaluppi, Carmela Bongiovanni, Andrea Cardone, Jen-yen Chen, Simone Ciolfi, Andrea Coen, Therese Ellsworth, Joël-Marie Fauquet, Florence Gétreau, Consuelo Giglio, Outi Jokiharju, Roe-Min Kok, Paul R. Laird, Marie Sumner Lott, Simon McVeigh, Elio Matassi, Russ Manitt, Jenny Nex, Leon Plantinga, Alban Ramaut, Rudolf Rasch, David Rowland, Laure Schnapper, Rohan H. Stewart-MacDonald, Renata Suchowiejko, Maria Alice Volpe

Editor: Roberto Illiano, Luca Lévi Sala
Publication Date: 4-1-2010
Series: Ad Parnassum Studies
Pages: pp. 656
Size: 170x240 mm
Binding: Paperback (Soft Cover)
ISBN: 978-88-8109-468-4
Code: APS 5


In this volume we wanted to investigate the intersection between the Industrial Revolution and the aesthetic-musical field. In particular, we aimed to explore the European dimension of the cultural exchanges caused by the phenomenon of musical migration, together with the international relationships generated by the music printing industry, entrepreneurship and the market for musical instruments. The later eighteenth and earlier nineteenth centuries were a time of fundamental change in European life, proceeding from the revolutionary implications of the ideologies of Enlightenment, and reverberating in market economies, methods of manufacturing and agriculture, modes of travel, and population distribution. The development of new technologies resulted in the enlargement and improvement of the music printing industry, and in the widespread diffusion of music in private and public spheres. The Industrial Revolution brought about the ‘modernization’ of productive processes and, as a consequence, engendered a kind of ‘globalization’ of the musical market.

Series Details

Ad Parnassum Studies
General Editor: Luca Lévi Sala

The series of Studies of the twice-yearly journal Ad Parnassum. A Journal of 18th and 19th-Century Instrumental Music is devoted to individual composers who have made a significant impact in the field of instrumental music.
In this way they remain securely within the journal’s area of interest, though without actually imposing strict limits on the specific themes treated, given that the entire output of the composers concerned may be taken into account, not just the instrumental music.

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