Charles Rennett and the London Music-Sellers in the 1780s: Testing the Ownership of Reversionary Copyrights

2004 ◽  
Vol 129 (1) ◽  
pp. 1-23
Author(s):  
Nancy A. Mace
Keyword(s):  
Eighteenth Century ◽  
Intellectual Property ◽  
Copyright Law ◽  
Significant Part ◽  
Late Eighteenth Century ◽  
New Information ◽  
Late Eighteenth ◽  
The Status ◽  
Printed Music

As printed music became a valuable market commodity in late eighteenth-century England, it became a significant part of debates over the interpretation of the first copyright law (1710). In particular, compositions by Charles Dibdin and John Garth became the focus of several lawsuits filed by the attorney Charles Rennett challenging the traditional interpretation of the clause that granted composers a second 14 years of protection after the first had expired. These suits detail the status of music as intellectual property and offer new information about the businesses of major music-sellers like Longman & Broderip, the Thompsons and John Welcker.

TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON

2018 ◽  
Vol 15 (2) ◽  
pp. 177-205 ◽  
Author(s):  
JULIA DOE
Keyword(s):  
Eighteenth Century ◽  
Large Scale ◽  
Stage I ◽  
Performance History ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
History Of ◽  
Printed Music

ABSTRACTLarge-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century:Les deux chasseurs et la laitière(1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history ofLes deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, likeLes deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?

Arrival in Lisbon and First Encounters

2017 ◽  
Author(s):  
George E. Dutton
Keyword(s):  
Eighteenth Century ◽  
Sudden Death ◽  
Final Decision ◽  
Royal Family ◽  
Political Position ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Status ◽  
Crown Prince

This chapter discusses the first several weeks of the Vietnamese delegations time in Lisbon. It describes their use of deliberately exotic gowns to attract the attention of the court and the ruler, a strategy that proves very effective. The chapter describes the deliberations about where to house the men, and the final decision to place them in the Necessidades Convent of the Oratorian congregation. The chapter then briefly gives a background on the Oratorians as well as the status of Catholicism in late eighteenth-century Portugal. It then introduces the Portuguese royal family, Binh’s potential patrons, and in particular the ruler, Dom João. It points out the numerous weaknesses of the Portuguese court and its ruler, crippled by an indecisive personality, and a precarious political position cause by his serving as regent to the Queen, who recently plunged into madness. Her insanity had been caused by the sudden death of her eldest son, which had thrust the unprepared Dom João into the position of crown prince. It concludes by discussing the first formal audience given to the Vietnamese delegation, when the met the prince and his wife at his Queluz palace, presented their gifts, and briefly described the nature of their mission.

The Gothic as a Theory of Symbolic Exchange

2019 ◽  
pp. 203-219
Author(s):  
David Collings
Keyword(s):  
Eighteenth Century ◽  
Human Being ◽  
Late Eighteenth Century ◽  
Wide Range ◽  
Late Eighteenth ◽  
Sexual Transgression ◽  
The Status ◽  
Symbolic Exchange ◽  
Active Individual ◽  
Cultural Shifts

Inheriting longstanding norms that require reciprocation between the living and the dead, the Gothic interprets the cultural shifts of the late eighteenth century as a breach in such reciprocation, a breach that it hopes to address through its own account of symbolic exchange. In a wide range of scenarios - ghost tales, stories of sexual transgression, accounts of unborn and undead figures - it proposes that a body, a corpse, or a sexually active individual is inexplicable, out of place, haunting, until it receives the status of human being through a symbolic act. In some tales, it even provides counterfactual narratives of interchanges with supernatural figures - Satan, Dracula - to conceive of how symbolic exchange with the inhuman might cut across, replicate, or disturb human reciprocation. The Gothic thus attempts to redress the conditions of a certain modernity by calling upon -- and theorizing -- the fundamental imperatives of symbolic exchange.

scholarly journals The Paradox of Kant’s Transcendental Subject in German Philosophy in the Late Eighteenth Century

2020 ◽  
Vol 39 (2) ◽  
pp. 7-25
Author(s):  
M. V. Rouba
Keyword(s):  
Eighteenth Century ◽  
Critique Of Pure Reason ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Thing In Itself ◽  
The Status ◽  
The Subject ◽  
Transcendental Object ◽  
Subject Of Cognition ◽  
Relationship Of

The study of the “first wave” of reactions to the Critique of Pure Reason in Germany from the second half of the 1780s until the beginning of the nineteenth century reveals the paradoxical status of the Kantian transcendental subject. While the existence of the transcendental subject, whatever the term means, is not open to question since it arises from the very essence of critical philosophy, the fundamental status of the subject is sometimes questioned in this period. Although the meaning of the concept of transcendental subject seems obvious today (the subject of cognition, bearer of transcendental conditions of experience) it lends itself to various interpretations in the late eighteenth century. To achieve my goal I have undertaken a textological analysis of the works of the earliest opponents and followers of the Kantian critique and a reconstruction of the conceptual field in the midst of which the transcendental subject has been planted. Among others I draw on the works of J. S. Beck, J. A. Eberhard, J. G. Hamann, F. H. Jacobi, S. Maimon, K. L. Reinhold, G. E. Schulze and A. Weishaupt. The authors of the period are grouped depending on the common themes and questions that prompted them to turn to the concept of the transcendental subject, even though the results of their reflections did not always coincide. These authors think of the transcendental subject in its relationship to the transcendental object, or as “something = х”, and in terms of the relationship of representation to the object. It is characterised sometimes as something absolutely hollow, and sometimes as the fullness of true reality. The status ascribed to the transcendental subject is sometimes that of a thing-in-itself and sometimes that of a “mere” idea. Finally, Kant’s transcendental subject was sometimes seen as something to be overcome and sometimes as an infinite challenge to understanding.

scholarly journals La creación de los Vales Reales = The creation of the Vales Reales

2016 ◽  
pp. 17
Author(s):  
Pedro Damián Cano Borrego
Keyword(s):  
Eighteenth Century ◽  
Public Debt ◽  
Precious Metals ◽  
Economic Problems ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Status ◽  
The Creation ◽  
Carlos Iii

<p>A<strong> </strong>finales del siglo XVIII la Monarquía adolecía de graves problemas económicos, derivados del estado permanente de guerra en el que se hallaba sumido el Reino, que impedía la arribada de remesas de metales preciosos y suponía unos ingentes gastos, lo que llevó a que a finales del reinado de Carlos III se creasen los Vales Reales, a modo de deuda pública. Por sus características, fueron desde el principio títulos de renta, amortizables en plazos más o menos grandes, dependiendo de las cláusulas que regían sus emisiones en un principio y más tarde de la situación del Tesoro Público.</p><p>In the late eighteenth century the Spanish monarchy had serious economic problems arising from the permanent state of war in which they had sunk the Kingdom, which prevented the arrival of remittances of precious metals and assumed a heavy expenses, which led to the end the reign of Carlos III the creation of the <em>Vales Reales</em>, a kind of public debt. By their nature, they were from the beginning income securities, redeemable in larger or smaller periods, depending on the terms governing their emissions at first and later on the status of Treasury</p>

Nicholas Culpeper Redivivus

2018 ◽  
Author(s):  
Susan Mitchell Sommers
Keyword(s):  
Eighteenth Century ◽  
Copyright Law ◽  
Late Eighteenth Century ◽  
Publishing World ◽  
Late Eighteenth ◽  
The Law

This chapter deals with the vicissitudes of the London publishing scene in the early 1790s. Sibly published beautifully produced books—on astrology and magic, astrological medicine, and later on gynecology and venereal complaints. But publishing was fraught—he never had enough money to keep control of the copyright to his works—so one of the main themes of this chapter is how he maneuvered through copyright law and practice to take advantage of lacunae in the law to repeatedly reclaim copyrights, and with them, the profit from popular works. The chapter uses Sibly’s case to illustrate the difficulties authors had in making a profit in the late eighteenth-century London publishing world.

Italian Opera and Arson in Late Eighteenth-Century London

1989 ◽  
Vol 42 (1) ◽  
pp. 55-107 ◽  
Author(s):  
Curtis Price
Keyword(s):  
Eighteenth Century ◽  
Golden Age ◽  
Italian Opera ◽  
Late Eighteenth Century ◽  
New Information ◽  
Opera Seria ◽  
Late Eighteenth ◽  
Opera House ◽  
To Come ◽  
Opera Houses

After the burning of the Haymarket theater in 1789, the Italian opera in London was in chaos. Yet several critics called this a golden age for opera seria, and London continued to attract the greatest singers and dancers. A recently discovered archive-which includes the complete financial and managerial records of two London opera houses-adds considerably to our understanding of this period and provides new information about Haydn, Burney, Sheridan, Turner, the Storaces, and Mozart. The documents also show that the Prince of Wales, the Marquis of Salisbury, and the Duke of Bedford patronized and secretly financed a court opera house at the Pantheon during 1790-92, with Paisiello as house composer in absentia. But faced with crushing competition from Haydn at the new Haymarket theater, Bedford and Salisbury conspired to have the Pantheon burned down, an act which affected the management of Italian opera in London for decades to come.

scholarly journals MIXED METRE IN A MIXED TASTE: TELEMANN AND EIGHTEENTH-CENTURY METRIC THEORY

2021 ◽  
Vol 18 (1) ◽  
pp. 11-39
Author(s):  
PAUL NEWTON-JACKSON
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Significant Part ◽  
Direct Connection ◽  
Georg Philipp Telemann ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Time Signature ◽  
And Performance ◽  
The Relationship

ABSTRACTThe use of integrated time-signature changes in eighteenth-century music has received little attention, probably because it is not considered a significant part of an eighteenth-century composer's toolkit. If mixed metre is discussed at all, it is linked with the late eighteenth-century conceptual shifts in metric theory brought about by Johann Philipp Kirnberger's circle. There exists, however, a substantial repertory of mixed-metre pieces from the first two thirds of the eighteenth century, with many examples to be found in the works of Georg Philipp Telemann. This repertory destabilizes any direct connection between mixed metre and the so-called Akzenttheorie, reminding us that the relationship between theory and practice at this time was far from straightforward. Beyond setting out how early eighteenth-century mixed metre operated within and against contemporary understandings of musical time, this article explores aspects of the origins, function and performance of these remarkable pieces.

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