This book provides a comprehensive overview of the British music industry, with a particular focus on the role of publishers, printers, and engravers. The author explores the historical development of the industry from the early days of printing to the modern era. The book provides a valuable resource for anyone interested in the history of music publishing and its impact on the development of British music.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Two centuries ago, Joseph Addison tells us in the character of Mr Spectator - L When I travelled I took a particular delight in hearing the songs and fables that are come down from father to son, and are most in vogue among the common people of the countries through which I passed for it is impossible that anything should be universally tasted and approved of by a multitude, though they are only the rabble of the nation, which hath not in it some peculiar aptness to please and gratify the mind of man Spectator . He further says - An ordinary song or ballad, that is the delight of the common people, cannot fail to please all such readers as are not unqualified for the enter- tainment by their affectation or ignorance. It was not only the cultured Mr Addison who recognised the claims of the peoples songs as expressive of sentiments that were worthy the consideration of the more learned, for quotation upon quotation could be given of examples where the refined and learned have found in the primitive song that which appealed in the highest degree. The moderns need no excuse for the study of folk-song, and few will regard the consideration of peoples-lore as an idle amusement. The present essay is put forth with all diffidence as a very slight dissertation upon a complex subject, and it does not pretend to do more than enter into the fringe of it. The younger of the present generation have seen the gradual speeding up of technique in composition and performance, but with this increased standard there has been a tendency to let fall certain very sacred and essential things that belong to musical art. In too many cases the composer has not quite justified the complexity of his composition while glorying in the skill of his craftsmanship he has too frequently forgotten the primitive demand for art and beauty, apart from technical elaboration. That type of simple melody that formerly pleased what we might regard as a less cultured age, holds no place in present-day composition or in the esteem of a certain class...
