Paul A. Merkley is Professor of Music at the University of Ottawa, Canada.

• Contents: Introduction; Part I The State: New developments in the social history of music and musicians in ancient Iraq, Syria and Turkey, Sam Mirelman; Tradition and transition: the performing arts in medieval North India, Madhu Trivedi; Renaissance novellara: musical life in the Gonzaga hinterland, Iain Fenlon; Joseph Haydn and Beethoven between court and nobility, John A. Rice; The music programmes take shape, 1926-1927, Jennifer Doctor; ’A flutter in the orchestras’: the Ballets Russes and the Australian orchestral situation in the 1930s, Mark Carroll; ’Let us begin’: arts policy during the Kennedy administration, Donna M. Binkiewicz; Background: IRCAM’s conditions of existence, Georgina Born. Part II Court and Aristocracy: State sacrificial music in the Ming court, Joseph Sui Ching Lam; Ludovico Sforza as an ’emerging prince’: networks of musical patronage in Milan, Paul A. Merkley; Court and religious music (1): history of gagaku and shomyo, Steven G. Nelson; Les patronages aristocratiques face au modèle royal, David Hennebelle; Beyond bibliography: interpreting Hawaiian-language Protestant hymn imprints, Amy Ku’uleialoha-Stillman; Winaretta Singer, Princess Edmond de Polignac, Myriam Chimènes; Woman patrons and activists for modernist music: New York in the 1920s, Carol J. Oja. Part III Economic Forces: Blowing your horn in the new economy, ca.1550, John Kmetz; The composition and the production of the opera score, Beth L. Glixon and Jonathan E. Glixon; The country visit, Ian Woodfield; Creating desire on Tin Pan Alley, Daniel Goldmark; The Selznick studio, 'Spellbound', and the marketing of film music, Kyle S. Barnett; Entertainer vs artist: patronage and the negotiation of identity, Kelly M. Foreman; On the reproduction of the musical economy after the internet, Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise Crewe; Micro-independent record labels in the UK: discourse, DIY cultural production and the music industry, Rober

Paul A. Merkley is Professor of Music at the University of Ottawa, Canada.

• Contents: Introduction; Part I The State: New developments in the social history of music and musicians in ancient Iraq, Syria and Turkey, Sam Mirelman; Tradition and transition: the performing arts in medieval North India, Madhu Trivedi; Renaissance novellara: musical life in the Gonzaga hinterland, Iain Fenlon; Joseph Haydn and Beethoven between court and nobility, John A. Rice; The music programmes take shape, 1926-1927, Jennifer Doctor; ’A flutter in the orchestras’: the Ballets Russes and the Australian orchestral situation in the 1930s, Mark Carroll; ’Let us begin’: arts policy during the Kennedy administration, Donna M. Binkiewicz; Background: IRCAM’s conditions of existence, Georgina Born. Part II Court and Aristocracy: State sacrificial music in the Ming court, Joseph Sui Ching Lam; Ludovico Sforza as an ’emerging prince’: networks of musical patronage in Milan, Paul A. Merkley; Court and religious music (1): history of gagaku and shomyo, Steven G. Nelson; Les patronages aristocratiques face au modèle royal, David Hennebelle; Beyond bibliography: interpreting Hawaiian-language Protestant hymn imprints, Amy Ku’uleialoha-Stillman; Winaretta Singer, Princess Edmond de Polignac, Myriam Chimènes; Woman patrons and activists for modernist music: New York in the 1920s, Carol J. Oja. Part III Economic Forces: Blowing your horn in the new economy, ca.1550, John Kmetz; The composition and the production of the opera score, Beth L. Glixon and Jonathan E. Glixon; The country visit, Ian Woodfield; Creating desire on Tin Pan Alley, Daniel Goldmark; The Selznick studio, 'Spellbound', and the marketing of film music, Kyle S. Barnett; Entertainer vs artist: patronage and the negotiation of identity, Kelly M. Foreman; On the reproduction of the musical economy after the internet, Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise Crewe; Micro-independent record labels in the UK: discourse, DIY cultural production and the music industry, Rober

Paul A. Merkley is Professor of Music at the University of Ottawa, Canada.

• Contents: Introduction; Part I The State: New developments in the social history of music and musicians in ancient Iraq, Syria and Turkey, Sam Mirelman; Tradition and transition: the performing arts in medieval North India, Madhu Trivedi; Renaissance novellara: musical life in the Gonzaga hinterland, Iain Fenlon; Joseph Haydn and Beethoven between court and nobility, John A. Rice; The music programmes take shape, 1926-1927, Jennifer Doctor; ’A flutter in the orchestras’: the Ballets Russes and the Australian orchestral situation in the 1930s, Mark Carroll; ’Let us begin’: arts policy during the Kennedy administration, Donna M. Binkiewicz; Background: IRCAM’s conditions of existence, Georgina Born. Part II Court and Aristocracy: State sacrificial music in the Ming court, Joseph Sui Ching Lam; Ludovico Sforza as an ’emerging prince’: networks of musical patronage in Milan, Paul A. Merkley; Court and religious music (1): history of gagaku and shomyo, Steven G. Nelson; Les patronages aristocratiques face au modèle royal, David Hennebelle; Beyond bibliography: interpreting Hawaiian-language Protestant hymn imprints, Amy Ku’uleialoha-Stillman; Winaretta Singer, Princess Edmond de Polignac, Myriam Chimènes; Woman patrons and activists for modernist music: New York in the 1920s, Carol J. Oja. Part III Economic Forces: Blowing your horn in the new economy, ca.1550, John Kmetz; The composition and the production of the opera score, Beth L. Glixon and Jonathan E. Glixon; The country visit, Ian Woodfield; Creating desire on Tin Pan Alley, Daniel Goldmark; The Selznick studio, 'Spellbound', and the marketing of film music, Kyle S. Barnett; Entertainer vs artist: patronage and the negotiation of identity, Kelly M. Foreman; On the reproduction of the musical economy after the internet, Andrew Leyshon, Peter Webb, Shaun French, Nigel Thrift and Louise Crewe; Micro-independent record labels in the UK: discourse, DIY cultural production and the music industry, Rober