Urteil und Werturteil in der Musik
Edited By Claudia Maurer Zenck and Ivana Rentsch
Innovation frühzeitig erkennen. Die Beurteilung eines musikalischen Werkes aus der Sicht des Verlegers
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Innovation frühzeitig erkennen.Die Beurteilung eines musikalischenWerkes aus der Sicht des Verlegers
From a publisher’s perspective the value of a musical work is connected with the perception of its commercial value. For him a composition is a copyright. He is investing in the engraving of the work in order to produce an unlimited number of copies. Up to the 19th century musical publishing was a fragile business model, practiced mainly by established book publishers such as Breitkopf & Härtel, former musicians like Nikolaus Simrock or wealthy connoisseurs like Johann André. The product life-cycle of sheet music did not always provide enough revenues to cover the expenses of engraving, printing and distribution costs. It was the process of canonization of musical works that provided a source of unlimited revenues to the publishers. The edition of „Complete Works“ (Gesamtausgaben) sustained the rise of „classics“, whose product life-cycle does not decline. Detecting innovation is the key by which a publisher can make successful choices. The commercial value of innovative artists is not evident from the beginning, as widespread acceptance by the public takes time or does not happen at all. The „return of investment“ slows or fails. Only publishing houses with a long running strategy as Schott, Peters or Boosey & Hawkes are surviving these financial risks.
I. Das Werturteil des Verlegers in seiner geschichtlichen Entwicklung
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