Music Publishing in Europe
1600-1900
Concepts and Issues

Edited by
Rudolf Rasch

With contributions by
Bianca Maria Antolini, Axel Beer,
Anik Devriès, Laurent Guillo, David Wyn Jones
Rudolf Rasch, Rupert Ridgewell

Strasbourg
European Science Foundation
2002

Dedicated to the Memory of
François Lesure
23 May 1923 - 21 June 2001

Table of Contents

Introduction

Chapter One
RUDOLF RASCH - Basic Concepts

1.1 Publishers
1.1a Printers- 1.1b Sellers - 1.1c Financers - 1.1d Publishers - 1.1e Editors
1.2 Publications
1.2a Editions - 1.2b Issues - 1.2c Parallel Issues - 1.2d Successive Issues - 1.2e Issues and Movable Type - 1.2f Issues and Publishers - 1.2g Versions
1.3 Features
1.3a Composer - 1.3b Title - 1.3c Place of Publication - 1.3d Publisher - 1.3e Year of Publication - 1.3f Plate Number - 1.3g Format

Chapter Two
ANIK DEVRIÈS-LESURE - Historical Sources

2.1 Printed Sources
2.1a Music - 2.1d Catalogues - 2.1c Bibliographies - 2.1d Newspapers- 2.1c Music Journals
2.2 Manuscript Sources
2.2a Archival Documents - 2.2b Public Archives - 2.2c Notarial Archives - 2.2d Private Archives - 2.2e Archives of Publishing houses - 2.2e Letters
2.3 Other sources
2.3a Hardware

Chapter Three
ANIK DEVRIÈS-LESURE - Technological Aspects

3.1 Manuscript Copying
3.2 Movable Type
3.2a Italy - 3.2b France - 3.2c The Netherlands - 3.2d The German-Speaking Countries - 3.2e England
3.3 Engraving
3.3a Italy - 3.3b England - 3.3c The Netherlands - 3.3d The German-Speaking Countries - 3.3e France
3.4 Lithography and Related Methods
3.4a Lithography - 3.4b Zincography - 3.4c - Stereotype

Chapter Four
RUPERT RIDGEWELL - Economic Aspects: The Artaria Case

4.1 Beginnings
4.2 Infrastructure
4.3 Inventory
4.3a Contextual Issues - 4.3b Stock Copies - 4.3c Engraved Plates
4.4 Using the Inventory
4.5 Conclusion

Chapter Five
LAURENT GUILLO - Legal Aspects

5.1 Publishers and the Authorities 5.1a Censorship - 5.1b Permission - 5.1c Charges - 5.1d Guilds - 5.1e Deposit
5.2 Publishers and Authors 5.2a Contracts - 5.2b Ownership - 5.2c Protection
5.3 Privileges 5.3a Italy - 5.3b England - 5.3c France
5.4 Author's Rights 5.4a Music - 5.4b England - 5.4c France - 5.4d Simultaneous Publishing
5.5 Copyright Laws and Collecting Institutions 5.5a France - 5.5b Other Countries
5.6 Conclusion

Chapter Six
DAVID WYN JONES -What Do Surviving Copies Tell Us?

6.1 What Kind of Music Was Published?
6.2 Parts and Scores 6.2a Size and Shape
6.3 Title Pages 6.3a Titles - 6.3.b Dedications - 6.3c Opus Numbers - 6.3d Illustrations - 6.3e Addresses - 6.3f Absence of Dates - 6.3g Further Elements
6.4 Preliminary Pages 6.4a Subscription Lists - 6.4b Letters of Dedication - 6.4c Advertisements
6.5 Music Publishing and the History of Music

Chapter Seven
AXEL BEER - Composers and Publishers: Germany 1700-1830

7.1 Preliminary Remarks
7.2 The Period to c1750
7.3 The Second Half of the Eighteenth Century
7.4 From the Turn of the Century until c. 1830

Chapter Eight
RUDOLF RASCH - Publishers and Publishers

8.1 Friendly Relations 8.1a Association - 8.1b Cooperation - 8.1c Branches - 8.1d Agencies - 8.1e Family firms - 8.1f Continuation
8.2 Unfriendly Relations 8.2a Competition - 8.2b Protection - 8.2c Piracy - 8.2d Counterfeiting
8.3 Conclusion

Chapter Nine
BIANCA MARIA ANTOLINI - Publishers and Buyers

9.1 Sales Outlets 9.1a Music Shops - 9.1b Other Shops - 9.1c Book Fairs - 9.1d Individuals
9.2 Subscription Systems 9.2a Subscription - 9.2b Serial Subscription - 9.2c Lending Libraries
9.3 Publicity
9.4 Buyers 9.4a Motivations

Music Publishing in Europe 1600-1900
A Select Bibliography

Index