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Catherine Harbor Phd Dissertation Volume 1 The Birth of the Music Business: Public Commercial Concerts In London 1660–1750 Catherine Harbor Thesis submitted to the University of London for the degree of Doctor of Philosophy Royal Holloway University of London September 2012 Declaration of Authorship I hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. This work has not been submitted for any other degree or award in any other university or educational institution. Catherine Harbor September 2012 2 Acknowledgements Working on this research project while having a very full-time job has made it seem like a long and sometimes rocky road. I wish to gratefully acknowledge the help and support of the following who have helped me along the way: my supervisors Professor Christopher Napier and Dr Catherine Liston-Hayes from the School of Management, and Professor Penelope Corfield from the History Department; Professor Charles Harvey; Dr Edmund Green; and especially the late Professor Rosamond ‘Corky’ McGuinness, whose friendship and enquiring mind were a joy which will never be forgotten. My family have, of course, been a help and consolation when things got tough, and probably had to put up with a certain amount of neglect on occasions: so many thanks and apologies to Adrian, Caroline and Daniel. Thanks also to my closest sibling in age, Professor Jon Harbor of Purdue University, who went through it all himself but rather earlier in life than I. 3 Abstract As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750 , a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister’s first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music’ of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750. 4 The Birth of the Music Business: Public Commercial Concerts In London 1660–1750 Catherine Harbor Volume 1 5 Table of Contents Volume 1 Declaration of Authorship .............................................................................................. 2 Acknowledgements .......................................................................................................... 3 Abstract .............................................................................................................. 4 Table of Contents ............................................................................................................ 6 List of Figures ............................................................................................................ 11 List of Tables ............................................................................................................ 13 Chapter 1. Introduction: Public Commercial Concerts in London 1660–1750 ............................................................................................................ 15 1.1. London: Supply and Demand for Music after the Restoration ....................... 15 1.2. Scope and Structure of the Study .................................................................... 18 1.2.1. Approach ............................................................................................. 18 1.2.2. Research aims ..................................................................................... 20 1.2.3. Structure .............................................................................................. 21 Chapter 2. Marketing the Arts ............................................................................ 24 2.1. Music as a Business ........................................................................................ 24 2.2. ‘Marketing Activity’ versus ‘Marketing Thought’ ......................................... 28 2.3. Marketing Thought .......................................................................................... 29 2.4. Marketing and the Arts .................................................................................... 31 2.4.1. The Art versus Commerce Debate ...................................................... 32 2.4.1.1. Managerial Orientation: Product Focus .............................................. 33 2.4.1.2. Consumption Orientation: Consumer Focus ...................................... 39 2.4.2. The Marketing Mix for the Arts ......................................................... 46 2.4.2.1. Product ................................................................................................ 49 2.4.2.2. Place/Performance .............................................................................. 51 2.4.2.3. Price .................................................................................................... 51 2.4.2.4. Promotion ........................................................................................... 53 2.4.2.5. People ................................................................................................. 59 2.5. Conclusion....................................................................................................... 61 Chapter 3. Sources and Methods ........................................................................ 62 3.1. Introduction ..................................................................................................... 62 3.2. Sources for the History of the Music Business 1660–1750 ............................ 62 3.3. Newspapers as a Source for Historical Research ............................................ 64 3.3.1. Content of the Newspapers ................................................................. 66 3.3.2. Some Potential Problems with the Sources ........................................ 68 3.3.3. The Advertisements as a Research Resource ..................................... 70 3.4. The Register of Music in London Newspapers ............................................... 72 3.5. Analysis of Concert Material in the Register of Music ................................... 73 3.5.1. Textual Decomposition and Relational Data Analysis ....................... 74 3.5.2. Content Analysis ................................................................................. 79 6 3.6. Conclusion....................................................................................................... 82 Chapter 4. The Musical Background ................................................................. 84 4.1. Introduction ..................................................................................................... 84 4.2. Music in England before the Civil War .......................................................... 85 4.3. Music in England during the Civil War and Commonwealth 1642–1660 ...... 88 4.3.1. Music at Court, in Church, Theatres and by Municipal Employees ... 88 4.3.2. Music in House and Tavern ................................................................ 90 4.4. Music in London 1660–1750 .......................................................................... 94 4.4.1. Music at Court, in Church and Theatres ............................................. 94 4.4.2. Public and Domestic Music ................................................................ 96 4.5. The Development of Public Commercial Concerts in London ....................... 98 Chapter 5. The Musical Product I: Types of Concert..................................... 104 5.1. Introduction ................................................................................................... 104 5.2. Concert Series ............................................................................................... 106 5.2.1. Banister’s and Other Early Concert Series ....................................... 106 5.2.2. Weekly Concert Series ..................................................................... 110 5.2.3. Ode, Oratorio, Serenata and Sacred Music Series ............................ 112 5.2.4. Musical Society Series .....................................................................
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