Patronage and Musician Repertoire

Paper Summary:

This paper discusses the Baroque period of 1600 - 1750. It discusses the role that patronage played in the lives of musicians and the repertoire that was composed or performed by them. It then examines three case studies in terms of their most significant musicians-in-residence, their socio-cultural environment, opportunities for performance and composition and their locally preferred musical styles.

Table of Contents:
Royal Patronage
Religious Patronage
Civic Patronage
Conclusions

From the Paper:

"Patronage in the period of glory for Baroque music greatly influences the portfolio of compositions. This happens, at least in part, depending on the composer and the role he is playing within the patron-composer relationship. In the case of Lully, for example, the influence was total, in the sense that Lully's works existed only within the framework defined for him by the absolute monarchy. Ranging from the ampleness of his operas, to the fact that he is one of the first to promote the idea of a French opera and to the machineries that are used to make grandiose spectacles - everything points out that the role of the composer is strictly determined by the patron."

Sample of Sources Used:

• Schrade, Leo. 1946. Bach: The Conflict between the Sacred and the Secular. Journal of the History of Ideas. University of Pennsylvania Press
• Isherwood, Robert. 1973. Music in the Service of the King. Ithaca and London: Cornell U.P.
• Isherwood, Robert. 1969. The Centralization of Music in the Reign of Louis XIV. French Historical Studies. Society for French Historical Studies
• Bach's Cantatas: a Brief Orientation. On the Internet at http://www.baroque-music-club.com/cantatas.html. Last retrieved on September 30, 2007
• Proctor, Gregory. 2006. A Schenkerian Look at Lully. Journal of Seventeenth - Century Music. Volume 10, no. 1

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