Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930

Abstract : This research concerns the international development of musical tours between 1850 and 1930, a period characterized by the affirmation of the intermediation function and by an increasingly commercial approach to concerts. By adopting the perspective of the intermediaries who have brought about this evolution, we propose to study how the change in scale of those cultural and economic exchanges that musical tours are has caused profound changes. In particular, the transatlantic dimension that the music trade acquired from 1850 onwards had decisive consequences for the concert. Indeed, not only the structure of the exchanges had to be adapted to this new scale, but the repercussions were also sensitive on the artistic objects and on the social practices which surround the musical activity. Treating the concert as a show, the American impresarios promoted a resolutely commercial approach which, a priori, was opposed to European artistic conceptions. However, through transnational competition and cooperation, the innovations brought by American intermediaries transformed the music trade as a whole. In particular, they led to the emergence, by reaction but also by reappropriation, of modern concert directions based on traditional European music publishing houses. Moreover, because musical works are also symbolically, socially and nationally connoted objects, their trade reflects the tensions between democratization and distinction on the one hand, and between national issues and universalist temptation on the other.
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Laetitia Corbière. Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930. Histoire. Université Charles de Gaulle - Lille III, 2018. Français. ⟨NNT : 2018LIL3H025⟩. ⟨tel-01989103⟩

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