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Patronage and Market in the Creation of Opera Before the Institution of Intellectual Property

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  • Timothy King

Abstract

Have different methods of financing the performing arts had an effect on thequality or diversity of thestock of works to be performed? This paper contrasts experience in the HolyRoman Empire and Italyfrom the mid-eighteenth to the mid-nineteenth century when copyright lawsbegan to play a major rolein the economics of composition. The period 1751–1790 strongly confirmshypotheses that patron-drivenopera would be expected to be qualitatively superior to market-driven opera. Italian experience from1810–1840, however, suggests that this result cannot be generalized. Copyright Kluwer Academic Publishers 2001

Suggested Citation

  • Timothy King, 2001. "Patronage and Market in the Creation of Opera Before the Institution of Intellectual Property," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 25(1), pages 21-45, February.
    • Handle: RePEc:kap:jculte:v:25:y:2001:i:1:p:21-45
    DOI: 10.1023/A:1007670619720
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    1. Kindleberger, Charles P., 1993. "A Financial History of Western Europe," OUP Catalogue, Oxford University Press, edition 2, number 9780195077384.
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    1. After Copyright
      by jamesoswald in azmytheconomics on 2012-04-25 19:08:13

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    Cited by:

    1. Bruce Seaman, 2004. "Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 28(3), pages 167-193, August.
    2. Achten-Gozdowski, Jennifer, 2018. "Geschichte und Politökonomie deutscher Theatersubventionen [History and Political Economy of Public Subsidies for German Theatres and Operas]," MPRA Paper 85087, University Library of Munich, Germany.

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