By Alan Durant (auth.)
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Additional info for Conditions of Music
In pressures for theoretical and practical continuity, generated by musical treatises, by textbooks of harmony and orchestration, and by polemics, as well as in personal teaching in academies and conservatories. 3. In institutional forms, such as the arrangement of seating to accentuate attention to performance as spectacle, admissions to performance by subscription and later by ticket, the mid nineteenth-century darkening of the lights as dramatic focus associated with Wagner, etc. 4. In social and political factors affecting exchange of ideas, experiences and innovations between musicians; travels, engagements and reputations of performers and impresarios.
Investment, development and commercial application of the gramophone, radio broadcasting and, later, tape recording have radically altered ways of listening. A focus of attention has moved from an active presence in performance into controlled, mechanical reproduction-with implications from supporting institutions and finance of these processes. Many of the early forms which were drawn upon to support and encourage the sale of machines and musical products of the new technology were derived from an existing repertory of concert and opera works and popular songs (and it is now a part of the mythology how Caruso and others hastened to the studios to preserve their talents for posterity); but subsequently the new listening arrangements have created and are continuing to create major directions for further investment, research, innovation and exploitation-with important repercussions on what will in future constitute relations of music-making, as well as what will be thought of as musical form.
3. Religious contexts, including mass, hymns, conductus; works and forms developed for liturgical or devotional purposes, often with ritually functional antiphon. These are frequently performed in secular contexts, as indications of human achievement and art. 42 Conditions ofMusic What is common to these three extractions is that, displaced from original ceremonial contexts, it is repetitions, contrasts and permutation of materials which become of focal interest, rather than surrounding relations of occasion, patronage and commerce, or means of distribution.