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Sounds of the MetropolisThe 19th Century Popular Music Revolution in London, New York, Paris and Vienna$
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Derek B. Scott

Print publication date: 2008

Print ISBN-13: 9780195309461

Published to Oxford Scholarship Online: September 2008

DOI: 10.1093/acprof:oso/9780195309461.001.0001

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New Markets for Cultural Goods

New Markets for Cultural Goods

(p.38) 2 New Markets for Cultural Goods
Sounds of the Metropolis

Derek B. Scott

Oxford University Press

Art in the second half of the 19th century had to take its place in the market with other commodities. The economics of cultural provision in the metropolis necessitated focusing on particular consumers. Old markets had to be developed, new ones created — such as promenade concerts, dance halls, minstrelsy, cafés-concerts, music halls — and, where necessary, demand stimulated. The diverse markets for cultural goods were noted in London at mid-century: theatres for pleasure seekers, sacred choral concerts for the philanthropic, “ancient concerts” for the wealthy, and the tavern sing-song for the working class. Musicians had to deal with markets and market relations rather than patrons and patronage. Taste was more closely aligned to matters of respectability and class status than to questions of aesthetics. All classes had to take into account the character of a performance venue before stepping inside, even though a certain amount of class mixing was normal at musical entertainments.

Keywords:   black musical, blackface minstrelsy, café-concert, entrepreneur, dance, market, music hall, operetta, promenade, vaudeville

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