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Created page with '==Description== Hi! I'm working on a Wiki article to go under the heading of 'patronage in music' in the future of music website. My thesis is that patrons of com...'
 
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==Sources, Referneces, Etc.==
==Sources, Referneces, Etc.==
1. Economic Origins: http://encarta.msn.com/encyclopedia_761562677/Economics.html#s2
1. Economic Origins: http://encarta.msn.com/encyclopedia_761562677/Economics.html#s2
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2. Economic Systems: http://encarta.msn.com/encyclopedia_761562677_3/Economics.html
2. Economic Systems: http://encarta.msn.com/encyclopedia_761562677_3/Economics.html
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3. Seignorialism: http://encarta.msn.com/encyclopedia_761572179/Seignorialism.html
3. Seignorialism: http://encarta.msn.com/encyclopedia_761572179/Seignorialism.html
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4. Bourgeoisie: http://www.encyclopedia.com/doc/1E1-bourgeoi.html
4. Bourgeoisie: http://www.encyclopedia.com/doc/1E1-bourgeoi.html
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5. Renaissance – rise of Mercantilism: http://encarta.msn.com/encyclopedia_761564630/Mercantilism.html
5. Renaissance – rise of Mercantilism: http://encarta.msn.com/encyclopedia_761564630/Mercantilism.html
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6. Capitalism: http://encarta.msn.com/encyclopedia_761576596/Capitalism.html
6. Capitalism: http://encarta.msn.com/encyclopedia_761576596/Capitalism.html
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7. Minstrels: http://www.grovemusic.com/shared/views/article.html?section=music.18748.2#music.18748.2
7. Minstrels: http://www.grovemusic.com/shared/views/article.html?section=music.18748.2#music.18748.2
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8. Printing: 1450s: http://www.grovemusic.com/shared/views/article.html?section=music.40101#music.40101
8. Printing: 1450s: http://www.grovemusic.com/shared/views/article.html?section=music.40101#music.40101
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9. Baroque: http://trumpet.sdsu.edu/m345/Baroque_Music1.html
9. Baroque: http://trumpet.sdsu.edu/m345/Baroque_Music1.html
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10. "Concise History of Western Music", Barbara Russano Hanning, W.W. Norton & Co, New York 2002.
10. "Concise History of Western Music", Barbara Russano Hanning, W.W. Norton & Co, New York 2002.
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This is the list so far. I'll work on including them in footnotes as directed by Wikipedia at a later date.
This is the list so far. I'll work on including them in footnotes as directed by Wikipedia at a later date.



Revision as of 21:47, 7 December 2007

Description

Hi! I'm working on a Wiki article to go under the heading of 'patronage in music' in the future of music website. My thesis is that patrons of composers influence the type of music being written, so by studying the economic trends in today's society, we can see where the patronage is likely to come from in the future and make informed predictions on the influence of music in the future. I begin by establishing the facts that: Artists (including musicians) need outside resources to be able to create and sustain their work, economics determine who has the money to be patrons, and that patrons influence the type of music being written. Please don't edit this page! Leave comments, suggestions, and criticisms on the talk page.

Sources, Referneces, Etc.

1. Economic Origins: http://encarta.msn.com/encyclopedia_761562677/Economics.html#s2


2. Economic Systems: http://encarta.msn.com/encyclopedia_761562677_3/Economics.html


3. Seignorialism: http://encarta.msn.com/encyclopedia_761572179/Seignorialism.html


4. Bourgeoisie: http://www.encyclopedia.com/doc/1E1-bourgeoi.html


5. Renaissance – rise of Mercantilism: http://encarta.msn.com/encyclopedia_761564630/Mercantilism.html


6. Capitalism: http://encarta.msn.com/encyclopedia_761576596/Capitalism.html


7. Minstrels: http://www.grovemusic.com/shared/views/article.html?section=music.18748.2#music.18748.2


8. Printing: 1450s: http://www.grovemusic.com/shared/views/article.html?section=music.40101#music.40101


9. Baroque: http://trumpet.sdsu.edu/m345/Baroque_Music1.html


10. "Concise History of Western Music", Barbara Russano Hanning, W.W. Norton & Co, New York 2002.


This is the list so far. I'll work on including them in footnotes as directed by Wikipedia at a later date.

Economics, Patronage, and the Future of Composition in Western Art Music

 For any artist to create, time and money must be invested. For any of the resulting art to be sustained, displayed, produced, or generally made public, more time and money is invested. These resources would otherwise have been allocated for subsistence activities such as acquiring food and shelter. Thus, economic support must be in place for art to flourish, and the nature of this economic support in many ways determines many aspects of artistic traditions. The sources of economic support throughout history are widely documented and studied, in many cases very specifically. By studying the shift of said support structures in a historical and cultural context and noting their effect on the creation of music, it becomes possible to create economic and cultural ‘scenarios’ and predict to a certain extent their effect on the nature of compositions. It then requires no stretch of the imagination to predict the economic trend of today’s markets and determine how this might affect music and compositional styles.
 The beginnings of Western Art Music can be found in the Roman Catholic Church.  The Greeks and Romans both wrote about the inferiority of trade to agriculture, and this opinion was instilled in the Church. With the fall of the Roman Empire, the Church became the largest unifying body in Western Europe.  It was instrumental in implementing a system known as Seignorialism.  This system (not to be confused with [Feudalism]) describes the socioeconomic relationship between lords and peasants.  During the [Middle Ages], wealth was largely determined by land.  Thus, the lords who owned land had the upper economic hand.
 While the lords provided economic support for secular music, there was no sustainability involved.  The entertainers of the day were nomadic, wandering from manor to manor, and they were not specifically musicians.  With the absence of a notation system and lack of reliable documentation, much of their material is lost.  This has given rise to the common misconception that secular music did not exist in the Middle Ages.  The Church was the only institution with sustainable economic support, and the consistent use of music in services created a demand for musicians and new music.  The clergy also had the advantage of education and time which allowed for the development of notation systems and more complex forms of music.
 Despite the discouragement of trade as an occupation, medieval cities began developing as centers of trade and commerce.  This shift, beginning around the 11th century, gave rise to a socioeconomic class somewhere between the lords and the peasants.  This ‘middle class’ would become known as the [Bourgeoisie]and from the very beginning they were in constant friction with the landowners.  As the economic focus continued to shift towards goods and trade, the middle class grew in number, wealth, and influence.  More people could afford education, and as a result the literary rate skyrocketed.
 By the 14th century, the Church which had previously been the dictator of all matters of moral, political, and intillectual affairs was in crisis.  A French Pope was elected in 1309, and for almost seventy years the hub of the Church was in France rather than Rome.  The increase in the educated middle class created a people who began to question the authority and supremecy of the Pope.  The papcy in France behaved more like a noble’s court than a religious body, thus providing a stable and sustainable economic market for secular music.  The flourishing of secular music in France is now known as the Ars Nova, and composers began experimenting with rhythm and notation largely using the [motet] as a vehicle.  Thus, the motet’s function expanded from sacred to include political comentaries, love stories, and other secular themes.