Musicians Make Markets
Bibliographic Data
| ID | 12657367 |
|---|---|
| Authors | Tia Denora (0000-0003-3334-8639, University of Exeter , Exeter,, corresponding author) |
| Year | 2013 |
| Volume | 15 |
| Issue | 2 |
| Pages | 212-228 |
| Publication date | 2013-02-21 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | European Societies (JOURNAL) |
| Journal identifiers | ISSN: 1461-6696 • E-ISSN: 1469-8307 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/14616696.2013.767924 |
| OpenAlex | W1549579880 |
| Language | EN |
| Citations received | 5 |
| References cited | 18 |
Arts markets are not ‘neutral’. Rather, they are inevitably coloured by socio-cultural practices and regularities, some of which are embedded in and afforded by aesthetic forms and the values and images associated with these forms. The stabilisation of distribution and consumption patterns over time may thus be linked to, and structured by, often tacitly delineated meanings, values and practices associated with artistic products (musical works and their performance, in this case). These associations afford emotional attachments and identity-stances that may become integral to artistic distribution and in ways that are socially consequential. To the extent that distribution and consumption are inflected in these ways, markets may be understood to be culturally inflected. Market processes, in other words, can be seen as structures that are both shaped by, and shape, the flow and exchange of passion, emotion and often unremarked forms of sensibility. I explore these themes through a case study of the production and distribution of Beethoven's keyboard concertos in early nineteenth century Vienna. I describe how the distribution of Beethoven's works offered gendered ‘object lessons’ about music producer/distributers (composer/performers) and music consumers. Through these lessons, the market for high culture music came to be associated with exhibitions of physical prowess, a heroic mien, and, almost exclusively, performances by men
Aesthetics · Art · Art history · Concerto · Consumption (sociology · Distribution (mathematics · Exhibition · Identity (music · Linguistics · Literature · Musical · Musical form · Object (grammar · Passion · Sensibility · Sociology · The arts · Visual arts · Music History and Culture · Musicology and Musical Analysis · Philosophy · Psychology · Social and Cultural Dynamics · Social Psychology
Music, Gender, Education
Beethoven and the Construction of Genius
Visual Perception of Performance Manner in the Movements of Solo Musicians
The Interpretation of Cultures
Musicking
An Engine, Not a Camera
Outline of a Theory of Practice
Mozart, Mesmer and ‘Cosi Fan Tutte’
Cultural entrepreneurship in nineteenth-century Boston
Music into action
Higher, Faster, Louder
What Is Sociological about Music
| Unique citing works | 5 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2016 - 2025 (10) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 5 |